3D STATUS AND VALUE. OF MUSIC IN EDUCA .: W BY ROSE YONT A THESIS Presented to the Faculty of th Graduate College in the University of Nebraska in Pa.tia! Fulfillment of the Requirements for the Degree of Doctor of Philosophy, Departments of Education and Philosophy THE WOODRUFF PRESS LINCOLN, NEBRASKA 1916 EXCHANGE STATUS AND VALUE OF MUSIC IN EDUCATION BY ROSE YONT A THESIS Presented to the Faculty of the Graduate College in the University of Nebraska in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, Departments of Education and Philosophy THE WOODRUFF PRESS LINCOLN, NEBRASKA 1916 COPYRIGHTED 1916 By ROSE YONT All Rights Reserved PRICE Paper $1.50; Cloth $2.00 By Mail 20c Extra A ^ress the Publishers at 100C-08 Q Si: TO DR. G. W. A. LUCKEY, Dean of the Graduate School of Education. This volume is dedicated as a token of the author's appreciation of his services. From him, she received the first encouragement in her chosen line of research To him, is due the credit for much in this volume, that may prove helpful to the serious reader. If the book succeeds in pointing out some fundamental principles, in a field of education, where as yet, the trail has scarcely been blazed, it will have fulfilled a worthy mission. ROSE YONT. March 15, 1916. 347154 ! A generous education is the birthright of every man and woman in America." VITA. Born and reared on a farm in Otoe county, Nebraska, of German ancestry, country school grade education, taught the same one year. Entered the state university preparatory course and University School of Music in 1894, with piano as a specialty, continuing the latter throughout the college course; entered the Lincoln high school in 1895, transferred to the academy the following year, entered the University in 1897, graduated from the conservatory in 1899, and continued post graduate work in piano, taking up private piano teaching; graduated from the University in 1903, taught home school again, 1903-04; took six months correspondence course in harmony with Dr. Percy Goetchius, New York City, 1903; began a correspondence course in counterpoint with A. J. Goodrich, New York City, 1903-04. Started on master's degree at the University of Nebraska, 1904, taking up composition under Mortimer Wilson and piano at the conservatory. Spent the year of 1905-06 in California studying composition and orchestration by correspondence with Mr. Wilson and counterpoint with A. J. Goodrich, also by corre- spondence. Moved to Lincoln, 1906, continued work on master's degree with composition and orchestration under Mr. Wilson. Took master's degree in 1907, in the departments of education and American history; took state teachers' certificate in German, French and history; title of thesis, " Music in the Public Schools of the United States." Taught piano privately 1907-12, while continuing study of piano, taking up china painting in the school of fine arts. Registered in the university engineering course during the summers of 1909, '10, '11, '12, as special student in furniture and cabinet work, and wood carving. Entered Lincoln Musical College in 1912 as private pupil of Aloys Kremer, taking up composition and orchestration under Max Kidder in 1913. Superintended practice work and chorus training in Parochial high school of the city, 1913. Began study of doctor's degree the summer of 1913, in education and philosophy. Went to New York City fall of 1913, took up full work in normal school music, Teachers' College, and in Columbia chair of music. Took piano with Sigismond Stojowski, and work in wood carving in Columbia shops. Summer study of 1914 in Columbia with philosophy under Dr. Washburn and Dr. Woodworth, and piano with Madam Conrad. VI Spent month of July visiting the high schools of New York City, Mount Vernon, and Brooklyn, and in studying conditions of settlement work in the slums. Resumed work on doctor's degree the fall of 1914, in the University of Nebraska. Took up the problem of experimental piano teaching, with reference to a test of the learning powers of adults, extending tests to include a study of the grade pupil, and a possible solution for crediting private instruction. Vll STATUS AND VALUE OF MUSIC IN EDUCATION. OUTLINE. Division I. II. III. IV. V. VI. VII. PART I. Music IN THE PUBLIC SCHOOLS. North Atlantic Division. South Atlantic Division. South Central Division. North Central Division. Western Division. United States Possessions. Report of State Superintendents. Supplementary. Distribution and Number of Supervisors in the United States. Summary. PART II. Division I. Normals. Chapter I II III IV V Division II. State Universities and Colleges. Chapter I. North Atlantic Division. South Atlantic Division. South Central Division. North Central Division. Western Division. North Atlantic Division. South Atlantic Division. South Central Division. North Central Division. Western Division. II. III. IV. V. Summary. Theses for Degrees. Mechanical Players in Colleges. Division III. Educational Extension. Chapter I. Universities, Colleges and Private Corporations. Festivals and Choruses. National Organizations. Municipal and Settlement Work. Research. Psychological in Universities. Statistics Regarding Private Music Study. II. III. IV. V. Sub-Chapter 1. 2. VI. Corporations. 1. Conservatories. 2. Book^Concerns. VI 11 PART III. Survey. Chapter I. Education. Sub-Chapter 1. Child Life and Training. 2. Present Conditions. 3. Adult Tests in Pianoforte Study. II. System of Incorporating Musical Instruction into the Schools. 1. Grade School. 2. High School. 3. University. General Conclusions. PART IV. Bibliography. Division I. Reports of State Superintendents. II. Normal School Catalogs. III. University and College Catalogs and Magazines. IV. Correspondence with State Superintendents. V. Correspondence with State Universities and Col- leges. VI. Correspondence with Nebraska High Schools. VII. University Extension Pamphlets. VIII. Musical Books. IX. Musical Magazines. X. Educational Books. XI. Educational Magazines. XII. Philosophy and Psychology Books. XIII. Psychology Magazines. XIV. General Magazines. XV. Miscellaneous Paper Clippings. ix TABLE OF CONTENTS PA PREFACE .GE 1 5 6 6 6 6 8 8 10 11 12 14 15 16 16 17 17 18 18 19 20 21 21 22 22 23 23 23 24 25 28 29 30 31 31 31 35 35 36 38 38 39 39 39 39 40 41 41 Washington Oregon PAGE . 42 . 42 ...44 . 44 ...45 ...45 ...46 . 63 ...65 . 73 ...73 ...73 ...74 . . . 74 ...75 ...75 ...75 ...75 . 76 ...76 ...76 ...77 ...77 . . . 77 . . . 78 ...78 . 78 ...79 . . . 79 . . . 79 . . . 80 . . . 80 ...81 . . . 82 . 82 . . . 82 83 PART I. MUSIC IN THE PUBLIC SCHOOLS Introduction North Atlantic Division Maine California United States Possessions Alaska Porto Rico Philippine Islands Questionnaires to state super- intendents Distribution and Number of Supervisors Summary PART II, NORMALS North Atlantic Division Maine New Hampshire Vermont Massachusetts Rhode Island Connecticut New York New Jersey Pennsylvania Statistics for New England, New York and New Jersey. . South Atlantic Division Delaware Maryland Virginia West Virginia North Carolina South Carolina Georgia New Hampshire Vermont . M assachusetts Rhode Island Connecticut New York New Jersey Pennsylvania South Atlantic Division Delaware Maryland Florida South Central Division Kentucky Tennessee Alabama Virginia West Virginia North Carolina South Carolina Georgia Florida North Central Division Kentucky Mississippi Louisiana Texas Arkansas Oklahoma North Central Division Ohio Indiana . ... Tennessee Illinois. . . . Alabama Mississippi Louisiana Michigan Wisconsin Minnesota Iowa Missouri Texas Arkansas Oklahoma North Central Division Ohio North Dakota South Dakota Nebraska Kansas Western Division Montana Wyoming Colorado New Mexico Arizona Utah Indiana Illinois Michigan 83 Wisconsin 83 Minnesota Iowa Missouri North Dakota South Dakota Nebraska Kansas. . . . . 84 ...84 ...84 ...85 ...85 . . . 85 . 86 Nevada Idaho. . TABLE OF CONTENTS Continued Western Division Montana Wyoming Colorado New Mexico. . Arizona. . Utah Nevada Idaho Washington . . . Oregon California. . PAGE . 86 . .. 87 . . 87 . . 87 . . 88 . . 88 . . 89 . . 89 . . 90 . 90 . 91 STATE UNIVERSITIES AND COLLEGES North Atlantic Division Maine University of Maine 95 Bowdoin College 95 New Hampshire Dartmouth College 95 Vermont University of Vermont 95 Massachusetts Harvard University 96 Radcliffe College 99 Amherst College 99 Clark University 100 Smith College 100 Wellesley College 102 Tufts College 103 Mt. Holyoke College 104 Boston University 105 Williams College 105 Phillips Academy 105 Rhode Island Brown University 106 Rhode Island State College. 106 Connecticut Yale University 106 Wesleyan University 109 Trinity College 109 New York Columbia University 109 Teachers' College 112 Cornell University 112 Vassar College 114 Syracuse University 116 University of Rochester. ... 118 College of the City of New York 118 New York University 118 Wells College 118 William Smith College. .... 119 Colgate University, Saint Lawrence University, Hobart College, Union College 119 PAGE New Jersey Princeton University 119 Rutgers College US- Pennsylvania University of Pennsylvania . 119 Bucknell University 120 Lebanon Valley College .... 121 Perkiomen Seminary 121 Grove City College 121 Pennsylvania College for Women 122 Pennsylvania State College . 122 Pennsylvania College 122 University of Pittsburg 122 Bryn Mawr, Alleghany Col- lege, Lafayette College, Lehigh University, Wash- ington and Jefferson Col- lege 122 South Atlantic Division Delaware Delaware College 122 Maryland Woman's College of Balti- more 122 Johns Hopkins University . . 122 District of Columbia Howard University 123 George Washington Uni- versity ^ 123 Georgetown University 123 Virginia University of Virginia 123 College of William and Mary 123 West Virginia University of West Virginia . 124 North Carolina University of North Carolina 125 Shaw University 125 South Carolina University of South Carolina 126 Converse College. . , 126 Georgia University of Georgia 126 Florida University of Florida 126 Florida State College for Women 126 John B. Stetson University. 127 South Central Division Kentucky University of Kentucky .... 127 . Tennessee University of Tennessee. . . . 127 Maryville College 127 Fisk University 128 Grant University 128 XI TABLE OF CONTENTS Continued PAGE South Central Division Tennessee continued Vanderbilt University. . 128 Cumberland University .... 128 Peabody College for Teachers 128 University of the South .... 128 Alabama University of Alabama 128 Tuskegee Institute 128 Mississippi University of Mississippi . . . 128 Mississippi Industrial In- stitute and College 129 Mississippi Agricultural and Mechanical College 129 Louisiana University of Louisiana .... 129 Louisiana Industrial In- stitute 129 Tulane College 129 Texas University of Texas 131 Baylor University 132 Texas Christian University . 132 Arkansas University of Arkansas 132 Oklahoma University of Oklahoma. ... 133 Kingfisher College 134 North Central Division Ohio University of Ohio 135 Oberlin College 136 Ohio University 138 Ohio Wesleyan University. . 139 Miami University 139 Baldwin Wallace College ... 139 Western College 140 Western Reserve University 140 University of Wooster 140 University of Cincinnati. ... 140 Indiana University of Indiana 140 Notre Dame 141 De Pauw University 141 Purdue University 142 Earlham College 142 Illinois University of Illinois 142 University of Chicago 144 Northwestern University . . . 145 Lombard College 150 Hedding College 151 Monmouth College 151 James Millikin University. . 151 Rockford College 151 Lake Forest College 152 PAGE Carthage College 152 Illinois Wesleyan University 152 Knox College 152 Augustana College and Theological Seminary. . . . 153 Michigan University of Michigan 154 Olivet College 157 Hillsdale College. . .157 Alma College 158 Kalamazoo College 158 Wisconsin University of Wisconsin. ... 158 Beloit College 162 Lawrence College 162 Ripon College 162 Marquette College 162 Minnesota University of Minnesota. ... 163 Macalester College 164 Gustavus Adolphus College. 164 St. Olaf College 165 Carleton College 165 Albert Lea 166 Parker College 166 Iowa State University of Iowa ... 166 Perm College 168 Iowa State College of Agri- culture and Mechanic Arts 169 Central University of Iowa . 169 Upper, Iowa University. . . . 169 Parson's College 169 Graceland College 170 Coe College 170 Amity College 170 Des Moines College 170 Buena Vista College 171 Tabor College 171 Ellsworth College 171 Missouri University of Missouri 171 Hardin College 172 Tarkio College 172 Park College 173 Christian Brothers College. . 173 Missouri Valley College .... 173 Missouri Wesleyan Uni- versity 173 Walther College 174 William Jewell College 174 St. Louis University 174 Central College 174 Westminster College 174 Drury College 174 North Dakota University of North Dakota 174 Xll TABLE OF CONTENTS Continued PAGE North Central Division South Dakota University of South Dakota 175 Dakota Wesleyan University 178 Huron College 178 Augustana College 178 Columbia College 178 Eureka College 178 Freeman College 178 Lutheran Normal. 178 Northern Normal and In- dustrial School 178 Presentation Academy 179 Redfield College 179 School of Mines 179 Sioux Falls College 179 State College of Agriculture and Mechanic Arts 179 St. Mary's Academy 179 Ward Academy 179 Wessington Springs Academy 179 Yankton College 179 Nebraska University of Nebraska .... 179 Nebraska Wesleyan Uni- versity 181 Union College 181 Cotner University 181 Hastings College 182 Doane College 182 Creighton College 182 Grand Island College 182 Luther Academy 182 Kansas University of Kansas 183 Baker University 186 Ottawa University 187 Oswego College 188 Washburn College 188 Kansas Wesleyan University 189 Fairmont College 189 Midland College 189 St. Benedict's College 190 Mt. St. Scholasticas Academy 190 Western Division Montana University of Montana 190 College of Montana 191 Wyoming University of Wyoming ... 191 Colorado University of Colorado 192 Colorado College 193 University of Denver 193 New Mexico University of New Mexico. . 193 PAGE Arizona University of Arizona. . .194 Utah University of Utah 195 Brigham University 196 Brigham Young College. . . . 196 Nevada University of Nevada 196 Idaho University of Idaho 197 Academy of Idaho 198 Washington University of Washington . . 198 Witman College 200 College of Puget Sound .... 200 Oregon University of Oregon 201 Pacific University 202 Mcminnville College 202 Albany College 202 California University of California .... 203 Leland Stanford Jr. Uni- versity 204 Pomona College 204 Mills College 205 University of Southern California 205 University of the Pacific. ... 205 Santa Clara College 205 St. Vincent's College 205 Tabulated Statistics from Departments of music . . . 206 Summary Theses for Degrees 208 Mechanical Players in Colleges 212 Educational Extension Universities, Colleges and Private Corporations 215 Festivals and Choruses 219 National Organizations 221 Municipal and Settlement Work 224 Research Psychological in Universities 229 Statistics Regarding Private Music Study Status in United States .... 238 Questionnaire of Washing- ton State 242 Questionnaire in Lincoln Public Schools 245 Comparison of Private Study 251 Nebraska State Question- naire 253 Summary of Conditions .... 263 Xlll TABLE OF CONTENTS Continued Estimated State Cost of Private Study Corporations Conservatories Book Agencies PART III. Survey PAGE . 262 . 266 . 266 . 268 Education 271 Child Life and Training 272 Present Conditions 281 Adult Tests in Pianoforte Study 285 System of Incorporating Mus- ical Instruction into the Schools 299 Grade School 300 High School 306 University 308 General Conclusions. . . 313 PART IV. PAGE Bibliography Reports of State Super- intendents 317 Normal School Catalogs 321 University and College Catalogs and Magazines 323 Correspondence with State Superintendents 334 Correspondence with State Universities and Colleges ... 335 Correspondence with Nebraska High Schools 336 University Extension Pam- phlets 337 Musical Books 337 Musical Magazines 337 Educational Books 341 Educational Magazines 342 Philosophy and Psychology Books 344 Psychology Magazines 344 General Magazines 345 Miscellaneous Paper Clippings 346 Summary of Readings 346 PREFACE. I have been led to select this field of investigation in writing my thesis, from a slowly developing conviction that much of the present teaching of art in our schools (but most particularly that of music), is attended by great waste, if not real injury to the children on account of false pedagogical principles, lack of under- standing of child development, and a commercializing of the occupation by the typical rank-and-file music teacher of the day. In the development of this thesis, the author hopes to bring out very definitely, her conclusions that much of the overwork, nervous breakdowns, and lowered vitality of children, is caused by an attempt to obtain these forms of culture on the side, and outside school hours. To what extent this is carried on, the general public little realizes, nor 'do the parents themselves, for that matter. The result is, that only the more vigorous children survive the strain, without serious damage to their constitutions. Or, worse still, they leave school for the sake of their art, since the school fails to solve their difficulties. Such a system has tended to turn out a large class of uneducated musicians, whom the educators now find it impossible to utilize, in the process of welding our art life and our school life into one. The division, which should not have taken place, has caused an isolation and a remoteness from real school problems, which cannot be reconciled, since the material is not forthcoming to supply the teaching force. This treatise does not agree with some writers, educators, who say that the average music student is below par mentally. By careful tabulation, both in musical advancement and school studies, the author has found that her best pupils stand highest in class. Those with less mental vitality are the children who have dropped the school work, and hence lack a many sided brain activity. Art life does not take the place of college stud y, nor is it possible for the college to supply the discipline and development peculiar to the arts alone. The usual conservatory product is not the result of the musical education itself, but rather, the lack of a well defined and perfectly rounded out system of education, in which no one faculty is developed at the expense of another. Since the average mature music student does not show the alertness of the music pupil in the grades, there is only one con- clusion. School days have terminated too young, before the real formative period in the educational development began. That the artistic element should predominate at the expense of real intellectual fibre is to be expected, when the two processes do not develop together. There can be little doubt, but that a purely artistic education produces a highly developed emotional organism which is not desirable. On the other hand, a purely scholastic education produces an unemotional organism which is equally undesirable. Thus we have today these two classes in large numbers, and it rests with the schools to so formulate their curriculum, that the two types may be fused into one, in such a manner, that the fusion may result in a well-balanced education for the great masses. The writer having been a victim of the dual course, the problems and hardships of such a process have been brought home with unusual force and clearness. It is with the hope of bettering the situation of those who may follow, that she has taken up the difficult aspects of the problem. Her own teaching has convinced her that the situation has become more tense during the past two years, and until some plan is developed, whereby all the activities of a child may be included and super- vised in the school curriculum, there is little prospect that the condition will tend to better itself. At present, there is no system of checking up the amount of work, which is really done by a school child in the course of a week. The general tendency is, that most children lack the keenness and alertness, which are characteristic of a child who is not overburdened with study, and which are so necessary to a learning process, that will be vital in the child's life. With these thoughts in mind, the writer will attempt to show four aspects: first, to what extent music is recognized not only in the public schools, but in the normals and universities; second, by investigation, to determine the real status of private instruction in this state; third, by experimental tests on the learning powers of adults, to discover, if possible, whether the art development cannot be prolonged sufficiently, to give room also for educational development, without a sacrifice of either; fourth, an attempt to set forth the problem and indicate, if nothing more, what seems to be a solution worth consideration. In preparation of the thesis, I have made exhaustive use of the state university library, the state house library, the state superintendent's private books, the legislative reference bureau, my own private library, with free use of Columbia library in New York City, and supplemented by four sets of question- naires sent out to state superintendents, state universities, high schools of Nebraska, and to leading musicians and educators. The writer here wishes to express her obligation to the above- named persons, for their prompt and courteous responses which they have made to her letters, and for the important information they have contributed so cheerfully. Whatever success awaits this thesis, the author feels will be due to the great consideration which others have shown, and only the large number to whom she is indebted, prevents mention of their names other than in the bibliography. More especially is acknowledgement due to Dr. Luckey, whose generosity and interest have always been present, and whose wisdom and judgment are deeply appreciated by the writer. April, 1915. ROSE YONT. PART I. Music in the Public Schools. PART I. MUSIC IN THE PUBLIC SCHOOLS. In treating of music in the public schools, this thesis begins with the conditions as they were in 1907, date of master's thesis, and deals largely with the phases as they really exist at the present time. For the most part, the material for such a study has been very satisfactory, and . it has been possible to make reports and tabulate statistics, which are uniformly full for all sections of the country. The intense interest in music on the part of musicians, college men and educators, as shown by the many able articles now in print upon the subject, has made a valuable report possible, while the careful and complete answers received from the number of questionnaires sent out, have been very gratifying. I have made extensive use of the state super- intendents' reports in this part of my thesis, since, being a care- ful compilation of state school affairs, they furnish even better source material than letters from the same parties. With this thought in mind, I have leafed through all the reports which may be found in the bibliography, and noted every mention of music. In my judgment, this serves as the most conservative and accurate background for a subject, which as yet is in its pioneer stage of development. While the reader may feel at times that due credit has not been given, I have attempted to give as full account as the sources justify. The lack of systematic work in the public schools, and the unsatisfactory reports sent in to superintendents, have made the compiling of this part of the thesis especially hard. An effort has been made to show rural and smaller town conditions as accurately as possible, since no collected material exists upon this phase. . Conditions in larger cities are fairly well-known already, since musical education of a more or less satisfactory nature exists in most towns of any considerable population. With this thought in mind, I have carried my investigations into the fields least accessible, and of which there is little knowl- edge of real conditions. NORTH ATLANTIC DIVISION. Maine shows little agitation along this line. School reports sent in to the state superintendent's office make no MAINE mention of music. The report of the Eastern State Normal School, and of the State Summer School for teachers, each make a brief mention, with no outline of the courses. The school law of 1913, Sec. 59, p. 25, bears out this conclusion, since it says "music shall not be taught therein (free high schools) except by direction of the superintending school committees having supervision thereof". This would indicate a matter of choice on the part of the different localities, in regard to its presence upon the curriculum. The table of statistics on page 14 will serve to make the conditions clearer, as well as to present comparisons between the several states of this division. (2. 1912:19,21.) The report of New Hampshire is still more scant in regard to any information. No mention is made. NEW HAMPSHIRE (3. 1911-12.) The reader is referred again to the report on page 14, which shows that out of forty high schools addressed, only sixteen responded, and of those sixteen, only eleven taught music. Since these as city school centers are the most favorable schools for such study, the rural population must not be as well cared for in this respect. (Thesis page 14.) Music has been recognized in Vermont for fifty years in all the larger villages. About 60% of all the schools VERMONT teach it as a study. (376.) The report of 1912 makes seventeen mentions of music supervisors. (4. 1912:81 all ref.) An interesting feature of the work in this state, is the report of the Central Caledonia supervision union. A supervisor travels from school to school, reaching each one once every week, conducting model recitations and instructing the teachers. There are short daily exercises in music. (4. 1912:81 all ref.) Ottauquechee Valley union also has a supervisor who has charge of the subject in the high school and the grades, and who is required to give one lesson every two weeks in each rural school, and map out the work for the regular teacher to present in the meantime. (4. 1912:129.) The reports by counties give seven supervisors for 1911 and nine for 1912, (4. 1912:296 all ref.) with eight for 1914, a loss of one in two years. (495.) The state of Massachusetts shows a higher stage of develop- ment, and a strong desire to infuse the study MASSACHUSETTS into the school system. In 1914, Massachusetts had one hundred and fourteen supervisors, four times the number in either Maine or New Hampshire. (495.) Quoting from the report of the board of education, "super- visors of music are in general demand in public schools, but so far the supply has come from private agencies, which, however strong their courses in the technical knowledge and practice of music, seldom give the pedagogical training requisite for the supervisors of music. It is possible for one of the normals to undertake this form of special training. Tentative efforts in this direction are being made at the Lowell Normal School." (5. 1912-13:43.) Principal Durgin urged the development of a department for such training, asserting "that at the present time there is no definite standard for such work, and, consequently the teaching of music throughout the state, is not as effective as it should be." Massachusetts has a large demand for teachers and supervisors of music. The state has made music a feature of the normal schools, of which there are ten, and has authorized the employ- ment of a teacher of music in each school. (5. 1911-12:39. 7. 1914:4. 377.) The report of the Boston school committee of 1913, em- phasized the great difference in the teaching in different districts of the city. The degree of interest varied, as well as subject matter. Some afforded regular supervisors, others did not, and the regular teacher did the work. Where a special teacher was hired, he visited the upper grades every five weeks, lower grades every four weeks and the kindergarten every two months. (6. 1913:44.) A few elementary schools had given much attention to orchestral music, and had developed an orchestra of ten to forty members. The training was done outside of school hours, but the results were worth while. Special teachers were so few, that the grade teachers had to do most of the teaching. Weekly instruction in choral singing was given in ten of the fifteen high schools. Not a single teacher was assigned exclusively to high school music, although there were fifteen thousand pupils in the high schools. "The attention to music in the secondary schools is not adequate for a musical center like Boston. There should be courses in musical appreciation, theory, practice and more ex- tended choral work, as well as harmony, dictation and musical art. There should be instrumental practice outside in institu- tions, and with private teachers with periodic tests for the same. There is no valid reason why music should not have the same credit as any laboratory subject. We must give this recognition, if we are to save the high school course for the musician." (6. 1913:44.) Such was the report of the school committee of Boston last year, and reveals the fact that general growth has not kept pace with the verdict of school management. The need, as is indicated here, is not felt sufficiently yet to be supplied. In Rhode Island, the subject is equally serious, and under- taken from a pedagogical standpoint. The school RHODE ISLAND reports make mention of it in various parts of the state, the subject being introduced frequently during the last reports. There is a strong desire to teach it as a language, and to introduce theoretical work, even original com- position. (8. 1909:71,81,116. 1910:195. 1911:295,303,348,352. 1912:126,130.) The work in this field is centered in the normals. The private schools and institutions, other than parochial schools, made the following reports: Conditions in private schools were: 1911: Music in twelve, none in five, no report from eight. 1912: Music in ten, none in nine, no report from eight. Conditions in parochial schools were: 1911: Music in twenty, none in three, no report from eight. 1912: Music in twenty-five, none in four, no report from three. The two reports show a gain for the parochial and a loss for the private schools. (8. 1911:348,352. 1912:126,130.) Providence, which had six supervisors in 1875, with a pop- ulation of one hundred and twenty-five thousand, now has only three with two hundred and twenty-five thousand people. The director, E. P. Russell, says that, but for the normal school training, music of Providence would have suffered. Hence the great efficiency of the grade teachers along this line. (8. 1910: 195.) Connecticut requires music to be taught in the normals, and for a term of forty weeks. The teaching staff CONNECTICUT being drawn from these schools, they have ample preparation, even where a supervisor is not always available. (379.) Aside from the knowledge gained at the normals, the state has thirty supervisors employed this year, while the salaries, as shown in the next paragraph, are sufficiently large to draw good teachers. A point worth noting, is that half of the supervisors are men in both this state and Massachusetts. (495.) The following table, made out from the report of the board of education, will show the cost and time devoted to the study. It includes reports from years of 1909 to 1910 and 1911 to 1912, with a comparison. The first report (b) includes seventy-three towns; that of the second (c) has seventy where special teachers were hired, with the length of time devoted to the subject during a week. a. Number of hours per week 3 2\ to 3 2\ 2.05 2 If b. Number of towns, 1909-10 2 1 5156 c. Number of towns, 1911-12 6 00 50 a 1.45 1.40 If U 1-25 1.25 1.15 to 1.40 1.10 b 1 4 1 16 9 1 1 c.. ..0 11 15 2 15 4 a 1.05 1 5/6 to If 1 to 1J .50 .45 .40 .30 b.. ..1 20 1 1 1 3 2 c 15 5 2 a .25 .20 .15 .12 2 periods 1 period part time b. .00110 1 c 1 1 2 1 2 A study of the figures shows that the average length of time was 1.15 to 1.40 hours for a week's study, the number being very small where less than an hour is given. The salaries were as follows: Over $3000 $2000-$3000 $1000-$2000 1909-10 towns 2 7 1911-12 towns 1 ' 4 18 $900-$1000 $800-$900 $700-$800 $600-$700 $500-$600 2 2 4. 4 5 7 6 4 8 12 $400-$500 $300-$400 $200-$300 $100-$200 Below $100 9 12 12 14 3 6 16 17 16 8 The year 1909 to 1910 shows a larger number of towns paying from $200 to $400, while in 1911 to 1912, one salary was $3,100, eighteen were between $1000 and $2000, more than doubled. This same increase of salary is shown in all the towns, indicating that as newer towns take up the subject, better teachers ace secured at an advanced price. This is always the case in the larger cities. The appended table shows the total salaries of special subjects taught in the state for the same years just quoted: 1909-10 1911-12 Singing $41,842.30 $46,352.12 Drawing 36,052.31 44,396.49 Domestic Science 7,649.66 14,983.19 Manual Training 16,270.46 21,577.70 Sewing 12,018.36 15,405.55 The table shows that by far the largest amount was paid sing- ing teachers, as compared with those of other special subjects, and that there was an increase of practically $5,000 paid out in the later report, the averages being $573.83 for 1909 to 1910, and $594.25 plus for 1911 to 1912. The following list of questions was asked of candidates for state teachers' examinations 1912 and 1913. (9. 1910-11:255. 1912-13:215.) I. 1. Write all notes from a sixteenth to the longest. 2. Write the following exercise in the key of E, 4/4 time, four even measures, one beat to each note except the last: 35 #4 567853 #2 36421. 3. Transpose the above exercise to the key of G flat, 4/2 time. 4. Write scale of b minor, harmonic form. 5. a. Give methods of teaching sharp 4. 10 b. Divided beat known as beat and one-half note, or dotted quarter and eighth. 6. Write ten exercises in 4/4 rhythm, using different combinations of notes and rests. 7. Give an outline of a lesson plan for third grade. 8. Meaning of the following: andante, adagio, vivace, molto, crescendo, de capo (D. C.) A new feature that has not occurred in any of the preceding states, was that, in a single instance, the supervisor's salary was paid by private subscription, but the amount was not specified. In the earlier report, four towns had the subject, but without a supervisor. The later report had supplied this deficiency, so that these towns were supervised, there being no vacancies. (9. 1910-11:255. 1912-13:213,516.) New York recognizes music as a branch of study, and has done so for many years. It is generally taught in both the NEW YORK grades and the high school, but is not given the regular attention that other subjects receive. No general system is in use, each city using what seems best. (380.) In 1910, the Board of Regents adopted the following general plan for secondary schools: 1. Chorus singing and the rudiments of music. For regents' examination, this .subject requires one period per week, of not less than forty minutes chorus singing outside of theoretical work. Each school is recommended to devote two periods to the sub- ject, and to make it required, not elective. 2. Dictation and melody writing, a three hour course, with a minimum of three periods per week during the year. Chorus singing and the rudiments to be finished before this is taken up. The aim of the dictation is that all shall gain power to think clearly in tone, and to read and write music with facility. The methods to be used are similar to those used in learning the mother tongue. 3. Music appreciation. The theory work includes scales, signatures, minor in the three forms, names of intervals, etc. This course, with reading and writing melodies, is supposed to produce solid musicianship. (10. 1910:391.) New York is more favored than most of the states, in that it has the stimulus of very large musical centers, especially New York City. The strong departments in several of the colleges, together with the educational leaders, have set up a high standard, which the state at large is not yet able to keep pace with. Some of the results in New York City can well be taken as models for less favored cities. The dominant note, however, and one which the reports bring out over the country in general, is the lack of uniformity. This city displays almost as many types and ideals of imparting musical instruction, as it has high schools. In the main, the results are highly gratifying, but much more could be 11 accomplished, if the same systematic uniformity and set standards prevailed, as do in other school branches. However, this is a problem which will be handled in due time and adequately, when the subject is taken generally under state patronage by state institutions. (Observation.) At a meeting of the New York state examination board, Superintendent Boynton presented a communication from Prof. Hollis E. Dann, member of music council, which was passed by the musical section of the State Teachers' Association in 1911. It was as follows: 'Resolved, that high school pupils preparing to enter the normal and training classes, shall be required to pass the regents' examination in rudiments of music and chorus singing, melody writing and dictation." "Resolved, that graduates of training schools and training classes, shall be required to pass an examination in music." "Resolved, that state inspection of the music of the public and professional schools would be most desirable." (10. 1913:143.) These resolutions were referred to a committee for a report at the next meeting. As in many of the preceding states, the normals are trying to take care of musical instruction, the one at Potsdam giving a special course in music covering two years, for the training of teachers. (380.) Several universities, and particularly some of the conser- vatories of New York City, which are incorporated by the state, and authorized to give diplomas and grant degrees, all offer strong courses for the training of teachers for school music, in all its phases. (Observation.) New Jersey shows the enlargement of the idea of having one supervisor teach music in all the schools of a NEW JERSEY township. This was done at the suggestion of the superintendent. Musical contests are spoken of in the 1910 report of the superintendent of Plainfield, stating that "interest was increased." The same volume speaks of the list of text books recently adopted as "furnishing some material for art work". As early as 1900, Paterson was outlining a course of music for the schools. (11. 1900:211,288,295. 12. 1909-10: 180.) In Union county, a music supervisors' association was organized in 1909. It was the clearing house for all that was new and untried, and held meetings every alternate month, to observe the work done in the districts. After each inspection, a meeting was held to exchange opinions of the work. This inspired interest on the part of patrons. (11. 1911:164.) A three course plan was devised by the school administrators last year, at the beginning of the seventh grade, to suit the vary- ing needs of the pupils. All three courses, even to the business 12 course, give one hour of the fifteen hundred minutes to music. The Hackensack schools were organized on this basis. (11. 1912: 79,82.) The mentions of musical instruction in this state are much more frequent in the reports for 1913, as compared with previous years, than is the case with the states just dealt with. This indicates that the growth may be later, and not a slow develop- ment as in Massachusetts or New York. (11. 1900:211,288,295. 1913:79,82,139,160,186,424. 12. 1909-10:180.) Somerset County sent in this report: "Special mention should be made of the excellent results in music at Bound Brook, North Plainfield Borough and at Somer- ville, which has a fine victrola. These schools took part in the music festival at Westfield." (11. 1913:424.) A table found in 1913 report is of interest, since it bears on the results of "examinations for teachers' certificates". The questions asked, as well as the exact nature of the certificate, would have been very instructive, but could not be found. It is appended : 1912 1913 Vocal Music Passed Failed Passed Failed Elementary 13 36 54 16 Special 15 6 92 The proportion of failures in 1912 as compared to 1913, shows that the candidates were either better prepared the second year, or that the requirements were lowered. (11. 1913:160.) The following table, compiled by the commissioner of educa- tion, shows comparison of the number of pupils in music courses, with some of the numbers in other high school branches. 1912 1913 State enrollment of high schools 459,189 478,935 Number in music courses 6,073 6,615 Number in American history 3,214 3,011 Number in English 28,540 31,878 Number in German 13,346 13,984 Number in drawing 8,092 10,331 Drawing and music show an increase of 19.6%, commercial subjects in- creased 53.9%, language decrease 2.9%, industrial arts increase 55.5%, history increase 9.4%, science increase 26.4%, mathematics increase 16.4%. (11. 1913:186.) In studying this table, it must be remembered that some of the branches are compulsory, while others are not, so the figures are not a true guide as to the inclination or tastes of the students. In the reports of Pennsylvania, 1911 shows unusual activity as compared to the years just preceding. (18. PENNSYLVANIA 1911:19 all ref.) 1909 has five mentions of music, 1911 has twenty-one, including forty distinct schools, and several mentions where it is impossible to estimate the real number. (13. 1909:224 all ref.) 13 In one year in Clinton county, four high schools bought pianos and ten purchased organs. Several other schools did like- wise. The reports of this state would indicate that there is con- siderable teaching without a music supervisor. (13. 1911:56.) The Pennsylvania report of 1909, makes several mentions of music as a new subject, in the various reports of the schools. The Radnor township superintendent reported a special teacher just added, to supervise all the elementary schools. The high standard of singing gained is mentioned in several schools; in some, the success is emphasized. (13. 1909:224 all ref.) The following report is from the same state two years later. Musical training is mentioned thirty-six times, several of which are county mentions, including many districts where it had been placed on the curriculum. The' characteristic attitude may be gained from quotations. "An orchestra was organized in Kitting- ton, and has held many in school." Eaton music "is under guidance of a special teacher, and merits the highest commenda- tion". Danville reports "work in music has more than held its own". "The development is sweetness and purity of tone, clear distinct enunciation." One principal says that "directors are recognizing the value of music as a subject that should be taught in our schools, and are doing their part by securing special in- struction for this subject." Forest county speaks of "a con- spicuous evidence of growth and progress in effort and im- provement of vocal music." Clinton county says "four high schools bought pianos during the year, and ten bought organs." This report comes from Alleghany county: Number of school districts where vocal music is taught 40 Number of schools where vocal music is taught 844 Number of pupils studying vocal music 37,000 Number of special supervisors in music 20 Danville held an annual musical of the borough schools, with "never before such praise for work the grade teachers had done." Corry report says "another subject which we feel should receive consideration in every system of public schools, is in- struction in vocal music. But without a supervisor, satisfactory results cannot be obtained. So, while we realize the high intel- ligence, as well as ethical value of systematic study of music, while we know that the culture derived from it would be felt in our homes, in churches of the city, while we appreciate the influence on musical and aesthetic taste, we are obliged to treat it in a haphazard way". Bristol Borough says "music was introduced into all the schools below the high school, and pupils made remarkable progress. Teachers took up the subject with unusual earnestness and success." (18. 1911:19 all ref.) In the 1913 report, twenty-eight mentions are made of music, several reporting "a number of schools of the county have taken 14 it up". Clarion, Lackawanna, Luzerne, Warren counties and Coal township all speak of an instructor of music in institute, which had not been alluded to in the previous reports. York county principal says "in this age of progress, the educational value of music cannot be fairly measured. It is the greatest art". (18. 1913:22 all ref.) In his reply, Mr. Schaeffer, state superintendent, stated that he felt "music should receive more emphasis, but the trouble was to get satisfactory teachers. Pennsylvania normals have taken up the work already". (381.) An interesting set of statistics was made out for New England, New York and New Jersey in 1910, upon the "Present Status of Music in the High Schools" for these states. It was sent to 679 schools, and seems carefully compiled, yet is offered as secondary source material, since it was prepared by another. Three hundred replies, less than half, were received. If desired, a more detailed set of tables may be consulted, by reference to the source material. Only the summary of facts is touched upon here. (476. 1911:217.) Me. N. H. Vt. Mass. R. I. Conn. N. Y. N. J. Total Number of schools addressed 94 40 45 194 16 75 138 77 679 Schools reporting.. 30 16 22 89 9 45 57 31 299 Music in 14 11 14 86 5 35 50 24 239 No music in 16 5 8 3 4 10 7 7 60 This table is given as a guide in estimating conditions. As is noted, approximately one- third sent replies from Maine; of this third, about half report the study of music. Yet the fact that sixty-nine schools sent no report, does not argue lack of musical training, nor indifference to the subject. So on through the list of states, varying per cents sent returns. The reader is merely reminded that no report can be taken as a true basis, which does not include practically full returns. The omission of a dozen would change the report enough to draw the attention in accurate research work. Even so, the tables are both interesting and instructive, when studied with this distinction in mind. The average time devoted to chorus work was forty-five minutes. No credit was allowed in the glee club work of the schools reporting. Total number enrolled was 63,997, New York having the largest number, 28,997; Massachusetts had 19,434. The total number of boys' glee clubs was 1,122, in girls' glee clubs, 2,207, and in mixed clubs, 1,747. The average weekly time devoted to rehearsal was one hour, two hours in Maine and Vermont outside of school hours. Three schools reported credit for this work. Out of 239 schools reporting, 18 offered harmony, 6 offered appreciation, 2 offered voice culture, and 6 allowed credit for outside music study, under each, Massachusetts furnishing half 15 the numbers. The total number of pupils in harmony was 38, in appreciation, 168, in voice, 21. Eleven schools offered preparatory courses in music for normal school candidates, eight of these being in Massachusetts. Eleven in New York offered the regents course in music rudiments. In all these elective advanced courses, credit was given toward graduation. SOUTH ATLANTIC DIVISION. The conditions in Delaware are not favorable for the develop- ment of any art, which does not have a practical DELAWARE bearing upon preparation for gaining a livelihood. The school funds in 1911 averaged $350,000.00, while 11.7 cents was the average cost per capita for the school children, which is lower than any northern state. Only eight of the southern states are lower. The average of the North Atlantic group is 23.7 cents. 41.4% of the state population is in Wilming- ton, 5% in the smaller cities, and 53.6% in the rural districts. There is more wealth back of each child than has the southern states, practically the same average as Pennsylvania, but it is not evenly distributed . The northern part has much greater resources. In 1900, 12% of the total population was illiterate; among the total white population, 7%; while among the negroes, 33.1%; among the foreign born whites, 18.3% were illiterate. In 1907, a compulsory attendance law was passed, which required five months attendance from seven to fourteen years of age. The curriculum of the school is confined to the elementary common branches. Manual training is taught only in the Wil- mington graded school, with advanced instruction in elementary branches, while the beginning of high school work has been organized in many of the towns. The rural school buildings are very poor, particularly among the negroes. The average salary of teachers, including Wilmington, was $40 per month in 1911, many rural teachers drawing $25, some even less. The state has no normal school, so the possibility of musical training for the public schools is closed in that respect, which is a distinct loss, wheh compared with the reports of normal trained teachers of the North Atlantic States, where the study of music is compulsory. The state has only nineteen public high schools and three private. (87.) In the letter of the state commissioner of education, music is not recognized in the schools, while less than 1% teach it. Some automatic players are used for instruction and entertainment. (382.) No supervisors are listed in the directory, (82. 1913:193) and no college or university of higher learning recognizes it in any way. (495.) It was not necessary in 1909 for a teacher of 16 music in the public schools to hold a certificate. (14. 1898-1909. 25.) ' In Maryland as well as in Delaware, emphasis is placed on the practical subjects of study. One county gives books MARYLAND I, II, III and IV of Eleanor Smith's songs series, in its list of free text books. Carroll county sent in the following report in 1911: 1910 1911 1912 Number of music pupils 862 1,094 1,015 Number in 1st grade classes 1,906 1,731 .... Number in drawing 3,273 2,094 .... Number in German 23 23 .... The numbers in several other subjects are given to show comparison. Drawing appeals more than music since its practical element is evident in mathematics. German, the less necessary subject, has small drawing powers. Howard county lists a public school music course of books, while Somerset county, also has on its free test book list a Rote Song book. (17. 1911:137 all ref. 1912:227.) In 1912, the Peabody Conservatory of Baltimore co-operated with the university in a six weeks' summer school, by giving a course of public school music. The arrangement was very satis- factory. (17. 1912:144.) The total number of supervisors for the present year is four. (495.) Of the nine colleges and universities of varying sizes, six do not recognize music in any form, three give it some form of recognition, one of the latter being for the colored race. (82. 1913:193.) Virginia is marked by unusual activity in the teaching of public school music in the normals. Of the fifteen VIRGINIA spoken of in 1910 and 1911, only two made no such provision. Many of the classes have fifty to one hundred and fifty students in the music department. Most of this activity began in 1911. (18. 1909-11:298 all ref. 1912:297 all ref.) The list of text books selected in 1908 and continued in 1912, has a full set of music books, as tirell as two song books, as out- lined by the state board of education. (21. 1912:7.) The total salaries paid to special teachers of music in 1911 to 1912 was $10,287.60. (19. 1911-12:31.) This would indicate a large number teaching who are not reported, since only four supervisors are listed for 1914. (495.) The reports show that interest is quite recent, and that the growth has been rapid, the normal activity, as shown in 1911, not being, as yet, thoroughly infused into the school life of the state. This being the case, the next few years should show a marked improvement in school music. 17 The teaching of public school music is a phase of normal life in West Virginia, possibly slightly less than that WEST VIRGINIA of Virginia for a given length of time, as shown by the school reports. Some of the normals offer work in vocal and instrumental music as well. Many of the reports sent in from the schools over the state, make mention of the work in music. (22. 1911-12:43 all ref.) The University of Virginia had the following teachers in 1912: a director of music with a salary of $2,500, and five assist- ants, only one of whose salaries was under $1000. (22. 1911-12: 27.) The state superintendent sends the information that music is recognized by the state board, but not required by law and has been so recognized for four years. It is taught very generally in town and city schools, approximately in about 50% of the schools, and is now compulsory in the normals. (383.) The manual containing the course of study, contains six pages of general discussion, under the subject of musical study in the schools. Its cultural and disciplinary value, as well as the valuable emotional training, is well brought out. The teaching of music in its more serious aspect is emphasized, and the teacher led to see his responsibility, in getting this result. (24. 1914 :229.) The High School Manual allows music to be elective to the extent of two units, a unit being recognized as a study carried thirty-six weeks, with five recitations per week, and forty minutes in length. (23. 1912:8.) The outline of study by grades, has music in every year throughout the eight years, while all two, three and four year high schools have it in the curriculum also during the entire course. The agricultural course as well, has music as an elective for the first two years. (28. 1912:10,60. 1914:35.) The most striking characteristic of the North Carolina reports of the years 1910 and 1911, is the number of NORTH CAROLINA new pianos bought, most of them for the high school buildings; occasionally two were pur- chased. (25. 1909-10:61,62,63,64,65. 1910-11:7 all ref. 1911- 12:19,20,21.) In 1910, eight were bought, in 1911, twelve, and in 1912, four were placed in the schools. Every page of the report pertaining to the schools makes mention of one, some- times two or three purchases in different localities, while a number of other places mention the musical work. Thirty-four different mentions are made in the three different years, which is significant as to the awakening of interest along these lines. One mention in 1912, speaks of sixty-four pupils in rural districts in the music study class. Doubtless most of the instruments, if not all, were purchased by private enterprise, since mentions are made such as "by receipts from school plays", " selling refreshments at recitals", while the large majority were paying a balance still 18 due. (25. 1909-10:61 all ref. 1910-11:7 all ref. 1911-12:19 all ref.) In the report of the Wakelon High School, the principal said that "owing to less demand for Latin, he omitted it with students having little college opportunity, and supplied instrumental music, agriculture and civil government". (25. 1910-11:65.) The following quotation is taken from the Handbook for High Schools for 1910, concerning music, drawing, domestic science, and manual training. "Because no place has been provided in the curriculum for these subjects, it does not mean that their educational value and importance are not recognized, and that they must therefore be ignored. Music and drawing ought to be in every public school in the land. Our cities and towns are providing for the teaching of these branches, but very few of the rural schools have yet been able to follow in their lead. Whenever it is possible for a principal to provide the necessary equipment, it is earnestly recommended that he do so. The state department is ready, at all times, to encourage instruction in those neglected branches, and to render any assistance that it can, in providing for their introduction, and in stimulating a greater interest in them. (26. 1910.) From the state superintendent comes the report that less than 1% of the schools have music as a study, and that it is taught in the normals, but not compulsory. (384.) There are ten super- visors this year. (495.) A glance at the industrial conditions of South Carolina, (page 77 of thesis) reveals the difficult racial SOUTH CAROLINA problem under which the state labors. It ranks second in respect to the large negro population. School interest centers more in domestic science, household arts and manual training, rather than in the less practical sub- jects. Industrial needs direct the choice of studies, rather than natural inclination. Only one music graduate was placed in a position by the Winthrop Normal and Industrial College, during the year of 1912. Neither public or high school reports make any mention of work of any sort in music. The normal at Little Rock has music in its curriculum, as well as the one just mentioned, so that slight training is possible and very probable in the larger towns. (27. 1908. 1909. 1910. 1913. H. S. 1911. Bulletin VI, 1913.) While Georgia does not show great interest in the subject it is by no means disregarded in the public schools. GEORGIA The First District Agricultural and Mechanical School at Statesboro had a "capable music teacher" in 1910, and the Georgia Normal and Industrial College had a complete 19 conservatory course of musical study. The high school courses as outlined have no music in the curriculum. (28. 1910:138,167.) The Georgia Normal Summer School gave a course especially adapted to the needs of the teachers. (28. 1912:161.) In 1913, the agricultural school had a flourishing department in piano, sight singing and chorus. The state high school contests also had music on the list, which took the form of piano recital. Eight girls contested in 1913, playing the following grade of compositions: Twelfth Rhapsody, Liszt; Rondo Capriccioso, Mendelssohn; "Witches Dance", MacDowell; Prelude, Rach- maninoff; "Perpetual Notion", Weber; and Nocturne No. 2, Chopin. Elocution, essays and athletics were the other features of the contest. (28. 1913:273,297.) Music is recognized in Florida in a rudimentary form. The aim may be summed up thus: "The pupil should learn FLORIDA how to sing and to memorize a large number of sweet, simple rote songs, in order to gain some appreciation of the artistic in the home. Once a day throughout the whole school life, the pupils shall have a period set aside for rote singing. Technique is not recommended. These songs shall consist of melodies relating to home and farm life, and shall be of a char- acter to increase the love of singing and ability to sing." Music is mentioned on the high school curriculum, but no indication is given as to the time or character of the work, merely suggesting that an hour be given for the first two years. This note is appended: "If music and drawing have been given in the grades, they may be omitted here, with the exception of the chorus work. Should they be given, no work outside of class shall be required." The questions given below were used in 1912 for special certificate in music, ten taking it, two of whom combined music with drawing. 1. What is a scale? How many tones in a scale? 2. How are scales distinguished? 3. Draw a staff and represent the scale C. 4. What is the effect of a sharp on a tone? Of a flat? Make the characters. 5. Write the chromatic scale of C on the staff. 6. Write the relative pitch names, and the absolute pitch names in the key of D. 7. Explain the meaning of each figure of the meter signature. 8. Of what nationality were the following composers: Verdi, Mendelssohn, Gounod, MacDowell, Schubert? 9. Give some methods that may be used to bring up the back- ward child. . 10. Name one idea that should be developed in each of the first five grades. (29. 1911-12:218 all ref. 30. 1912:12.) In answer to letter, the state superintendent wrote that . 20 music was recognized but not required, and that it was taught in many of the high schools. It is also taught in the normals, but is not compulsory, and is not given recognition upon certificates. This probably means regular certificates, since the foregoing list of questions shows that special music certificates are issued. (385.) SOUTH CENTRAL DIVISION. The Kentucky reports make several mentions which are worthy of note, and show a developing of this study KENTUCKY in the schools. The Taylprville school in Spencer county is spoken of as having a supervisor of music, while the following report was sent from Winchester county: "Music was formerly taught after a fashion by the grade teachers. About five years ago, competent instructors of music and drawing were employed, and, as a result, pupils have made wonderful progress in these lines." This indicates a sentiment in favor of better work and specialized training. The Eastern Kentucky State Normal School has an instructor for public school music, while the Western Kentucky State Normal has such a course free to all, including sight singing, music structure, and methods. There is also a required course to prepare supervisors of music, and a certificate is issued. The normal has a conservatory connected with it, in which work is given in all the regular branches of a standard school of music. The state elementary certificate has music on its course, and the intermediate and advanced certificates each have two years of music. (31, 1910-11:163,180.) A committee of ten of the Kentucky educational associations drew up recommendations for school welfare, which were adopted in April 1913, and contains the following clause: "That vocal music be recognized as part of the course of study in the public schools of our state, the minimum requirement being the teaching of our state songs, and the national airs/' (32. 1912-13:17,497.) A special feature is that eighteen supervisors teach music in Kentucky this year, not one of whom teaches another subject, showing that salaries for music alone, have reached the point where the work is becoming professional. Moreover, five of these are men, which is equally significant, as compared with conditions several years ago. (495.) The state superintendent writes that not over 1% of the schools have music as a study. While it is taught in the normals, it is not compulsory. Contrary to most normals, especially in the states just reviewed, the Kentucky normals have conser- vatories in connection with them. Music is not required for certificates. (386.) 21 For the year 1910, the city schools of Tennessee had 51,901 children studying vocal music. Fourteen counties TENNESSEE recognized the study, fifteen did not, and two sent no report. The high school report of 1911 contained forty-five counties. Twenty-three had vocal music, nineteen did not, two sent no report. (33. 1911-12:124.) The enrollment, including high schools and grades, was as follows in 1911 and 1912: Counties, 1912 Cities, 1912 Total, 1911 Total, 1912 Vocal music 66,215 50,920 122,386 117,135 Spelling 383,772 72,207 455,979 471,850 Reading . ...382,864 68,759 313,504 451,623 Algebra 20,337 5,453 25,718 25,790 Arithmetic 338,017 69,095 367,820 407,112 Geography 173,576 48,103 184,794 221,679 A study of these figures shows a real decrease in 1912 in the number studying vocal music. Again the number in several other studies has been tabulated as a means of comparison. (33. 1911-12:84,120.) The total enrollment for the same branches in 1911 was as follows: County City Total Vocal music 77,813 44,543 121,386 Spelling 374,357 97,493 455,979 Reading 377,964 75,540 313,504 Algebra 19,237 6,281 25,718 Arithmetic 326,352 41,463 367,820 Geography 164,508 20,241 184,794 (33. 1911-12:65,69.) Enrollment of high school and grades for 1912 and 1913 com- pares as follows: Counties, 1913 Cities, 1913 Total, 1912 Total, 1913 Vocal music 68,552 33,391 117,135 106,943 Spelling 353,290 49,353 455,979 402,643 Reading . .355,001 53,584 451,623 408,585 Algebra 19,115 4,538 25,790 23,653 Arithmetic 303,736 52,700 407,112 356,436 Geography.... ..156,705 19,912 221,679 176,617 (33. 1913:30.) The statistics for county high schools for 1913 were as follows: Vocal music .2,646 English grammar 3,684 Writing 4,231 Composition 4,464 Spelling 6,633 Literature 4,231 The number reported in music compares very favorably with other studies. (33. 1913:167.) Concerning the general educational conditions in Alabama, the reader is referred to the normal school report in ALABAMA this thesis, Part II, Division I. Such industrial con- ditions do not favor art development. 22 From Booker T. Washington, it was learned that music is taught in only a few grades, and no credit is given for private lessons outside. Yet the study is recognized in the schools, since the normals have compulsory courses, and a department of music in connection. (388.) The 1913 report of the superintendent makes no mention of such teaching. (34. 1913.) The appended quotation was taken from the report of the state superintendent, and gives the conditions of MISSISSIPPI this state very fully. "Mississippi has perhaps the lowest public school curriculum of any state in the nation. This shows that the course of study should be "raised. The only objection to this is that some teachers are not prepared to teach new subjects. But the schools are not instituted in the interests of teachers, rather in the interests of the children. It is a poor teacher who cannot prepare himself to pass an examination upon a few more elementary subjects, that should be added to the curriculum. "Many of the school laws are antiquated and conflict. A constitutional convention is needed. I urge a commission to revise the school laws, and to study the best laws of other states, in order that they may, in time, become a part of our body of school laws. "The great problem of the educational system of Mississippi is the solution of rural school conditions. How best to work out a system of education, carrying the best educational advantages to all the people? More than 75% are one- teacher schools, in poorly equipped buildings. Mississippi ranks forty-fifth in educational efficiency/' In regard to musical conditions, the only mention of such in- struction is in the Mississippi Agricultural and Mechanical Col- lege, where a band and a glee club were trained under a director of music, who taught also physical training, athletics and wood work. Students were received in both organizations without knowledge of music, and given free private lessons until able to do the regular work. This required about two years for the band, before a student could do efficient ensemble playing. The band was organized in 1911, the glee club in 1912. (35. 1911-13 :4 all ref.) In the small amount of school funds, Mississippi is surpassed by only one state, South Carolina. In 1910, the average teacher's salary was $250 a year, while the public high schools were mostly of low grade. (87.) The Louisiana Industrial Institute and the State Normal School each have a music course, while the Louisiana LOUISIANA State University mentions a course offered in the summer school. The following paragraph shows en- couraging conditions: "The Industrial Institute has a music 23 course which shows steady and satisfactory growth. All branches of music show over 20% growth, the violin enrollment over 200% in two years. The band has forty members, and the orchestra has experienced players. There is a splendid girls' chorus. Twenty pianos are in use all the time." (36. 1911-13 all ref.) The New Orleans supervisor of music sent in this report: "There is great advance in music in the elementary schools. In the higher grades, a special teacher does the work with excellent results. We hope, next year, to take part in the Louisiana state Eublic school teachers' convention. In these two years and a alf, we have tested many plans, and are now ready to adopt a definite one. The teachers show great interest, and visit other schools. Two clubs were formed, also reading circles, for the purpose of studying the history and theory of music and class management." (37. 1911-12:53,76.) The grade schools in general have music study compulsory, but optional in the high schools, since the expense made it neces- sary to abandon compulsion. Fifty per cent of the high schools teach the subject. (389.) Texas has really better conditions than state reports show for 1912, since no mention is made of music. (33. 1912.) TEXAS Reference to the normal school part of this thesis will show that the subject is both taught and compulsory in the normals. (See normals, page 80.) The state university put in a department of music also in January 1914, so that the educational system is approac' ing a plan of handling the subject. (See universities, page 131.) The state board of education and the state department of public instruction had one hundred prominent ARKANSAS teachers assist in preparing a course of study for Arkansas. It was submitted June 1, 1911, Sec. 16, Act. 431, and approved. It provides for elementary, rural and graded high schools. Under the law, it is the basis for grading and classification. Music is included, and covers eight grades of good technical work and serious study. In the last year, standard songs, study of the composers' lives, history and musical literature are supposed to be the leading work. Ginn and Com- pany and American Book Company are the series mapped out. (39. 1911-12:197,240,360.) Oklahoma recognizes music and has done so for seven years. Ninety per cent of the schools teach it, while it is OKLAHOMA compulsory in the normals and for certificates. (391.) Frequent mention is made in the normal courses for the school report, showing that it ranks with other studies. The Modern Music Series Primer, the First, Second and Third Books in Vocal Music for city schools, and the Common School Book for rural schools are the books adopted for use. (40. 1912:101,102,121,201,214.) 24 NORTH CENTRAL DIVISION. The general status of music in Ohio schools for three years is as follows and includes comparison with other studies OHIO as well: 1911 1912 1913 Vocal music 401,426 477,296 482,578 Spelling 702,581 711,442 703,410 Reading 718,877 735,930 739,006 Writing 708,720 727,300 730,530 Arithmetic 700,102 718,572 Geography 426,415 536,090 Grammar 216,169 221,827 Language 391,977 History 267,629 256,643 General history 24,912 23,298 23,947 Drawing 399,217 419,171 356,532 It will be noticed that the gain in vocal music from 1911 to 1912 was 75,870, and from 1912 to 1913 it was 5,282, the first gain being enormous. 1911 to 1915 seems to mark an awakening, since the other studies above show also a large increase, but none so large as that of music; some studies decrease in 1913. (41. 1911:110. 1912:58. 1913:67.) The number studying vocal music in the larger cities in 1912 was estimated thus: Cincinnati.. ..40,895 Dayton.. ..13,378 Cleveland 73,476 Toledo 23,002 In each case, the music enrollment was larger than that of any other subject. (41. 1912:98.) Seventy-one cities had paid supervisors of music in 1912, eleven being in Cincinnati; Cleveland, Columbus, Hamilton and Troy each had two; Toledo had three. The average highest salary was $165, being in Cincinnati; Akron next, paid $160; twenty-four cities paid from $100 to $150 per month, the rest being just below that sum, only two falling below $50. Of the villages, two hundred and fifty-seven had special teachers, the average wages per month being $10 to $75, two as high as $100, one at $75; $50 to $60 was the average. (41. 1912:204.) The school report for 1913 gives the number of supervisors in the cities at seventy-eight, and in the districts as sixty; whereas Patterson's American Educational Directory makes the total number sixty-one, the report makes the total number one hundred thirty-eight in 1913, or a year before the directory. The one probably considers only specialists, the other including all who dabble in the subject. (41. 1913:216. 495.) Uniform examination questions for county teachers' examina- tions for special high school certificates are prepared under the direction of the state school commissioner, and sent out from his office in accordance with section 7819 of the General Code, Those for 1912 were as follows: 25 1. State definitely all the advantages and disadvantages you see in teaching music in the elementary schools. (Your answer should show that you have studied the question.) 2. Explain the condition you find in schools where music has been neglected. (The attitude of pupils, deficiencies in voices, etc.) 3. Why is a knowledge of acoustics necessary to the teacher of music? What is the range of sound vibrating per second? (Minimum and maximum.) 4. What is an octave? Write the consecutive ratios of the diatonic scale from C to C. 5. What is a chord? Harmony? Do any three alternate tones form a chord? Explain. 6. What is a cadence? A half cadence? A deceptive cadence? 7. Explain by several examples your understanding of modulation. 8. For what do the following abbreviations stand? And., D. C. Ebb., D. S. Tin., 4 tte, 8va and Pizz. (41. 1912: 313.) The supervisor of music of Columbus, Ohio, got out a splendid pamphlet on public school music in 1912, including all grades and through the high school. It is called the Teacher's Music Manual. The discussion on the object of school music and the teachers preparation are well worth the reading. As summed up, the object is "to create a love for wholesome music among the masses". Under the teacher's preparation, the fact is em- phasized, that to be able to sing or to be a musician is not enough, but that a special training must be taken, and that music must be subject to the same pedagogical principles as other studies. (42. 1912:5,6.) The year 1910 is marked by great activity in the school music of Indiana. According to the ruling of the INDIANA board of education, vocal music must be taught twelve weeks in normals. In the uniform course of study for elementary schools, the aid of music is set forth very clearly, and consists of these points: The aim is to develop character, and music does what no other subject can do. It has ' the same psychological reason for being on the curriculum as literature. Three phases must be emphasized : 1st, presentation of masterpieces; 2d, there must be a rational development of science; 3d, there must be systematic work in musical expression, that is, in composition. If well done, every community should have large choruses in all stages. (43. 1910 :190,293.) This course is one prepared by a committee of the state teachers' association, and has the germ of excellent teaching principles. The committee further said, that the special purpose of music 26 in public schools,, is to give the pupil the power to sing by note music of ordinary difficulty, and the taste to enjoy the best music in the world. It divides into two lines: 1st, teaching music reading. Music is based on scientific principles which must be presented scientifically. Individuals and not the class should be the teacher's care. Introduce a new principle only after the majority know the old. Present time and tune separ- ately, and progress side by side throughout the course. The teacher must not sing with the class in sight singing; she may sing for them. Exercises written by the teacher on the board are valuable. Insist on good smooth tone. The following rules for song singing were given: (a) attack, (b) distinct phrasing, (c) enunciation, (d) quality of tone. GENERAL SUGGESTIONS. The teacher must prepare her lesson. There should be occasional ear training exercises and frequent written work. The technical part of the lesson should be in two parts: (1) tone drill, two or three minutes (tones and intervals) ; (2) in- dividual work two or three minutes; (3) drill on the principles of time and tune, using the book or board, changing key often, and working on what the class does not know. Review often. If the time is hard make it easy. Such are the main features of the points advocated by this committee, many pages being devoted to a careful explanation. The work for each grade is then gone into in detail through the eighth, and leaves little to be desired for the weak teacher, not sure of her musical founda- tion. (48. 1910:190,193.) These remarks of the 1910 report pertain to high school requirements in music. The vitality of the course is determined by three factors: 1st, attitude of students toward the subject; 2d, musical material; 3d, the teacher. Select music with good strong words, avoid the commonplace, but have songs pleasing to pupils, use variety and sharp contrast. Unison songs are good to emphasize unity. Part songs educate the sense of harmony. Do not work too long on one difficulty. If a song drags, drop it. In taking up a new song, it is wise to sing it through without stopping, to give a chance to grasp the whole. Plan to start a new song every other lesson at least. It is important that each feel the rhythm. Let pupils count for the teacher while she plays. Keep the voice placing good. Besides good vocal music, pupils should become acquainted with some instrumental master- pieces. Utilize pupils who play in this. A few words may be said about the piece and composer. In conclusion, it is the pupil, and not the subject which should be the teacher's chief care. (43. 1910:239.) 27 The following training for teachers is suggested, in the 1910 report: Class A. Twelve weeks, music daily, no outside preparation. B. Twenty-four weeks, music daily, no outside prep- aration. C. One hundred eight weeks, with twelve of vocal music. High school work in accredited schools. Music in the amount of one hour per week for six terms. (43. 1910:293.) The examination for a supervisors' license includes arithmetic, grammar, United States history, physiology, scientific temper- ance, geography, reading, writing, spelling, literature, science of education, drawing and music, (or an examination for common school.) If not a high school graduate, the candidate must be examined in literature, composition, arithmetic, United States history, physiology and scientific temperance. If no normal training, the applicant can offer one year or more work in an approved school of music. The grade must be 85% or more. (43. 1910:323.) The appended questions were the sets given as indicated: FOR COUNTY AND STATE COMMON SCHOOL LICENSE. 1. What is a major scale? A chromatic? 2. Where do the half steps come in the major scale? 3. What is a perfect cadence? Illustrate. 4. Write four measures in 3/4 time. 5. What is an accidental? 6. Define bar, measure, rhythm, flat, accent. 7. What is the value of singing and of musical instruction in the school? 8. What is the meaning and use of a sharp? A flat? A natural? (43. 1911 and 1912:325.) FOR COUNTY AND STATE HIGH SCHOOL LICENSE. 1. Compare Beethoven and Chopin in regard to style, form, aim, and general character. 2. Define tempo rubato, movement, phrasing, syncopation, staccato. 3. What is a symphony? Name three great symphonies and their com- posers. 4. Write an eight measure melody in 4/4 time, and harmonize it for four voices, in the style of a choral hymn. 5. Explain the use and meaning of the following terms in regard to singing: covered tone, chest tone, head tone, falsetto, register. 6. What is meant by the expression, tempered scale? 7. What is the difference in character between vocal and instrumental music? In what century do we first find independent instrumental music? 8. Name five composers of the nineteenth century, and one composition of each. (43. 1911-12:313.) The questions for state teachers' life certificate are similar to the above, and may be found in the indicated reference. (43. 1911-12:313.) 28 A general survey through reports of county superintendents runs as follows: In Cass county, music is part of the regular township in- stitute work. A number of towns have joint institute work. (43. 1911-12:197.) Music has been introduced in Howard county in consolidated schools under supervisors, with a uniform course for district schools. (45. 1911-12:218.) Laporte county has put eight supervisors in the high schools, which supplies all but two. (43. 1911-12:227.) In Montgomery county, "music is being taught systemat- ically where it can be done effectively. Parents are requesting that it be taught as an essential and not as a frill." (43. 1911-12 : 235.) Morgan county added music, and found that it pleased the patrons. (43. 1911-12:236.) The Parke county superintendent said music had been put in five graded schools, and would possibly be required in all graded schools. (43. 1911-12:241.) All of the White county schools have music, while several township schools have special teachers. In another year, more specialists are expected to be employed. (43. 1911-12:266.) That results will follow such unusual state activity is to be expected. Indiana has been given considerable space, since it presents such a strong type, and is highly representative of western spirit in stage of transition. The prominence has not been given through any idea that it is the leading state along this line of work, as that is a matter where no accurate judgment is yet possible. The Illinois school report for 1908 to 1910 presents a peculiar- ity which is more noticeable than in any of the preced- ILLINOIS ing reports. Fifty institutes make mention of work in music presented by specialists, which would indicate that this state is making a feature of such form of education. Combination of subjects (which is shown as a strong specialty of this division of states in the supervisors' report, page 63) is brought out definitely. Thirty-two supervisors are spoken of as giving county institute work. Two combine manual training and music, two instruct in music and drawing, one in music, reading and physical training, one in geography, reading, gram- mar and music. The report shows also the tendency for one teacher to travel from one institute to another in nearby towns. (44. 1908-9:74,75,76,77,79,81,82. 1909-10:198 all ref.) The working out of the combination problem means greater efficiency in the institute work, financial economy, and more tendency to uniformity, since one teacher carries the same methods to several towns the same season, diffuses them at once among the teachers, and hence among the school children the following year. 29 Twenty-two colleges, seminaries and universities had music upon the curriculum in 1909 and 1910. (44. 1909-10:873.) Northwestern University has the reputation of having one of the best public school music departments, and turns out many teachers. (44. 1910-12:379.) Music requires one out of eighteen credits for county school training certificates. For a normal diploma, one-half to one of the twenty-four credits is devoted to "singing in the grades". The Eastern Illinois State Normal has music in the second year, the Northern Illinois State Normal employs a teacher with an assistant. The Southern Illinois State Normal has the same provision. Chicago Normal School has a chair of music. (44. 1910-12:535 all ref.) The University of Illinois School of Education held a high school conference in 1911, and ten pages in the proceedings are devoted to the efforts made in behalf of music. A call was made to assemble the supervisors of the state in the hope of perfecting a permanent organization, in order to standardize music as a study. A committee had been appointed to investigate music in the high schools of the state. This body found that music was taught in about 65% of the high schools, and a much larger per cent in the grades. The work was not uniform, and little or no credit was given. In nearly every instance, the supervisors reported examination at least twice a year. (45.) The same conference met in 1912 very successfully, and at this meeting, standardization of the high school music was given a prominent place. (46. 1912:179.) The township clerks of Michigan made this report concerning the number of districts in which music was taught. MICHIGAN A few other studies are given, with three consecutive years shown. 1910-11 Algebra 1,495 Arithmetic 7,102 Civil Government 6,180 Geography 7,084 Grammar 7,032 Orthography 5,272 Writing 5,472 Physiology 6,980 Reading 7,100 United States History 6,910 Agriculture 391 Domestic Science 280 Music 441 (47. 1910-11:185. REPORT OF MUSIC IN INCORPORATED CITES AND TOWNS. 1910-11 1911-12 1912-13 Vocal music taught 182 193 192 No music study 158 82 107 Music not recorded 52 No response 102 72 126 (47. 1910-11:238. 1911-12:259. 1912-13:259.) 1911-12 1912-13 1,510 1,414 7,087 7,165 6,273 6,494 7,072 7,111 6,998 7,052 5,485 5,074 5,451 5,645 6,971 7,013 7,036 7,106 6,832 6,911 469 613 521 395 436 381 1911-12:137, , 1912-13:195;) 30 REPORT OF NUMBER OF MUSIC TEACHERS TO A TOWN. 1910-11 1911-12 1912-13 One teacher 38 39 46 Two teachers 3 2 4 Half teacher 38 34 29 No special teacher 26 30 Three-tenths teacher 1 One-fourth teacher . . 1 Seven-tenths teacher . . 1 Two-fifths teacher .. 1 (47. 1910-11:266. 1911-12:235. 1912-13:290.) The following statistics were made out from the commis- sioner's report for 1911 to 1912 and 1912 to 1913, and include a report of the schools where music was taught. Counties Number of schools Enrollment 1911-12 1912-13 1911-12 1912-13 Alphena 6 6 1,002 1,162 Baraga 1 .. 104 Branch 1 . . 170 Calhoun 6 . . 300 Charlevoix 2 .... 200 Cheboygan 6 6 450 537 Ionia 4 4 415 480 Josco 2 150 Mackinac 1 .... 165 Mocosta 4 4 225 225 Oakland 1 1 300 300 Otsego 1 140 Benzil 1 60 Muskegon 1 80 Total 29 29 2,966 2,499 The Wisconsin reports for 1911 to 1912 make no mention of music, although the Wisconsin teachers' association, WISCONSIN which met at Milwaukee, gave considerable space in its proceedings to a paper on "Principles of Scientific Management Applied to Teaching Music in the Public School". (51. 1910-12:121.) The article dealt intelligently with the matter of applying the same scientific principles of eliminating waste, as are applied in factories and industries. The sentiments of Superintendent Gary are expressed in a paper clipping, where his words are quoted, to the effect that experience has shown Wisconsin that credit should be given in high schools for private music lessons under outside teachers. The same article speaks of musical instruction in the schools, but gives no information as to the extent of such study. The state as a whole has forty listed supervisors, eleven of whom teach drawing as well. (495.) Music had become a settled fact on the curriculum of the Milwaukee schools by 1909. It was in all the elementary schools, but not in the high school. (52. 1909:34.) 31 The board of regents of state normal schools voted twenty weeks of vocal music, to be taught in the normals from Sept. 1909, including the course for high school graduates. (49. 1908:96.) Minnesota reports make this statement concerning normal work. "The common schools are giving increased MINNESOTA attention to music. The normals, in order to main- tain their position of leadership, and to supply the increasing demand for competent teachers of these newer branches of study, must provide additional instruction to this end. An urgent demand is made that the public schools, rather than special technical schools should provide instruction in these newer branches." (52. 1911-12:108.) Music has been put in the Minnesota normals, so the state superintendent wrote. (395.) As to what extent music is taught in the schools, the report does not specify. The directory of the Minneapolis public schools says that "elementary teachers shall be examined in music." The school corps has four special music teachers. A course is outlined for all the grades. (54. 1913-14:39.) The state has forty-six supervisors listed this year, eight of whom teach drawing, and one domestic science. (495.) Reports for Iowa give little information upon the subject. The 1912 directory makes no mention of music. Yet the IOWA normal schools furnish ample material in such courses. The State Teachers' College has a music department, grown to such proportions, that there is not enough room for it. (56. 1910:23.) The State University has a school of music, the senate having a music board. (56. 1910:78.) Of the Iowa State College of Agriculture and Mechanic Arts enrollment of 2,637 students, sixty-nine were music students in 1910. The school grants an artists' diploma in music. (56. 1910:210.) The examination for uniform county certificate has an hour set apart for an examination in "elements of vocal music". (57. 1911-12:98.) The Iowa State College has 141 unclassed students in music out of a total of 2,307. (56. 1912:349.) The normals all show the same general activity, and have compulsory training. Evidence of considerable teaching is shown by the fact that the state has sixty supervisors this year. Eleven teach drawing, one combines sewing. (495.) Correspondence shows that Iowa has recognized music in the schools for ten years, and that it is taught in all the grades and high schools. (396.) The musical activity in the schools of Missouri gives it special prominence in this line of education in the middle MISSOURI west, and may probably be attributed to the influence of larger towns. The table below gives an estimate of the number of high school students studying music for several successive years. 1911. 1912. 1913. (57.' 1st class 2d class 3d class Unclassed 9,606 553 231 345 9,058 439 219 564 9,517 309 330 353 1911:145. 58. 1912:186,194,200,214. 1913:362,370 Towns reporting Towns reporting music no music 1912 1913 1912 1913 46 55 93 96 Total 10,735 10,280 10,509 ,376,392.) Mere mention 1912 12 9 45 39 6 .9 '77 72 35 215 261 215 1st class H. S . . 2d class H. S . 3d class H. S . Unclassed .... (57. 1912:186,194,200,214. 1913:362,370,376,392.) The figures below give the number of high school pupils studying music for seven years: 1907 1908 1909 1910 1911 1912 1913 7,800 7,506 9,757 9,008 10,735 19,280 10,609 (57. 1911:145. 1913:351.) The following high school table gives a comparison of the number in music courses with other school studies, and for a period of seven years, affording also the statistical growth for that period of time. 1907 1908 1909 1910 1911 1912 1913 Music .... 7,800 7,506 9,757 9,008 10,735 10 291 10 609 Mathematical algebra .... American history 18,612 2,060 19,767 2,595 21,421 2 647 23,120 2 832 23,316 3 469 24,083 3 983 23,658 3 911 Chemistry 1,550 1,948 2 231 2 187 2 393 2 411 2 372 German 3,082 3,331 3 818 3 915 4 085 4 317 4 372 French 731 652 538 551 Drawing 4,105 4,413 4,390 5,001 3,670 5,475 5,422 Domestic Science 1,777 2,317 2,775 2,565 3,377 3,566 4,947 (57. 1912:269. 1913:351.) The normal schools show very favorable signs of musical growth. This quotation was taken from the 1911 report of the First District Normal School at Kirkville. "Music gains notice- ably in numbers and quality of work. It begins to produce marked effects in the public schools* of northeast Missouri. Our music festivals, held in April, are a great stimulus to public school music. In April, 1912, our chorus of sixty men and women will give, with the Minneapolis Symphony Orchestra, 'Faust' in concert form. This will be the fourth annual joint musical festival with the same company. It becomes easier year by year to have high class music. In the summer of 1911, 33 the music department gave 'Pinafore' on the lake. The ship built for the purpose cost $400. Only two rehearsals were allowed. The performance was very popular, and a snug sum was cleared." The other four normals show about the same activity. (57. 1911 :350,355,358,360,362. 1912 :425,427.) The summer session of the Missouri State University, 1911, had this enrollment in its courses: Music 62 Gymnasium 61 French 20 English 50 German 43 Theory of teaching ... 42 Psychology 49, etc. The total attendance was 492. Music was one of the most popular subjects. (57. 1911:350.). The following appears in the superintendent's report of 1911: "A person holding a diploma of graduation from an institution having membership in the ' Missouri College Union', or from an institution of equal rank in another state, or from a professional school of high rank that prepares teachers of music, drawing, manual training, domestic economy, or physical culture and expression, may receive a five-year certificate, after an experience of twelve months, by passing in pedagogy, psychology, and four elementary subjects, to be selected by the examiner. After forty months experience, this may become a life certificate, by passing in Missouri school system and history of education." (57. 1911:309.) The following table shows the normal school attendance of Missouri in 1911 and 1912: Kirkville Wan bu 1911 254 eof 20 316 ens- rg , 1912 Ca Girar 1911 deau Spring- field Maryville To 1911 952 241 877 tal 1912 1150 1911 250 with 110 125 1912 1912 1911 1912 1911 1912 Music (Compared Arithmetic Literature 300 som 355 thel 137 arge 32 31 126 st cl 245 asse 35 277 281 s) 66 44 128 88 Drawing is the only subject which has a higher total, being 989, the rest fall far below this number. This is the case, even though music study is still optional. (57. 1911:368. 1912:432. 397.) Missouri has special stimulus from St. Louis, where school music is excellent. There were seven supervisors in 1910 to 1911, and eight in 1911 to 1912. The grade teacher receives a salary of $2,300. The associate gets $1,100 the first year, $1,200 the second, $1,300 the third, $1,400 the fourth, until it reaches $l;500 in the fifth year. 2 34 The St. Louis schools have very efficient instruction in music, and appreciate its benefits to the utmost. Concerts and public exercises are emphasized. The following high school table shows the very unusual activity along this line, and certainly brings out the practical side of the art. VOLUNTARY MUSIC CLUBS, ST. LOUIS HIGH SCHOOLS Soldan has 2 organizations appearing 32 times. Central 5 43 McKinley 3 7 Yealman 4 Sumner 3 ? Soldan high has also an orchestra of seventeen boys and ten girfe appearing 14 times, and a mandolin club appearing 11 times during the year. (58. 1912-13:193.) The students have the privilege of appearing in many concerts with the St. Louis Symphony Orchestra. In three years, 1,800 high school and 1,700 grammar pupils have sung in these concerts, with only two rehearsals each. The choral club of Yealman gave "Pina- fore". (58. 1912-13:193.) Assistant Superintendent Collins said, "It is doubtful whether there is any study whose mental and spiritual reactions are greater than those of music in its various aspects. Probably there is no other subject in the high school in which so many participate, and in which so many earn a living. A way should be found where work can be estimated toward graduation. A talented music pupil will not sacrifice music for education." The above shows that Missouri is making adequate oppor- tunities where finances allow. The added list of questions was used for state examination in 1912. 1. Define: sharp, time, beat, triple, octave. 2. Why should music be taught in the public schools? 3. Write what you know about the child voice, the adolescent, the adult voice. 4. Write fully concerning your education in music. 5. Define and write the principle characters and signs representing power. 6. Define: allegro, bar, ritardando, andante, staccato. 7. Write some simple melody and then transpose it. 8. Name ten great musicians, and write a biography of one of them. 9. What are the means of increasing or decreasing the values of notes and rests? 10. Do you favor any particular course of readers? Why? 11. Illustrate and define: staff, flat; double flat, and natural. How may a staff be enlarged? 12. What is the meaning of key? Key signature? How can we tell the key when the signature is in sharps? 13. What is a scale? How many distinct kinds are in use in our modern system of music? Write on the staff the A major scale. 14. Define: time, pulse, beat, triplet, sextriplet. Illustrate the time signatures in general use. 15. Define and write the principle signs and characters representing power. 35 16. Define and illustrate: bar, double bar, brace, slur. 17. Place on the staff the following intervals, each in a different key: Perfect unison, perfect octave. 18. Define anthem, interlude, opera, prelude, oratorio. 19. Write the D major scale and show how the d minor scale may be found from it. (57. 1912:353.) The late school reports of North Dakota make no mention of music in the schools. One reference was found NORTH DAKOTA in 1912, to the effect that "special certificates may be issued to teach music". (59. 1910-12: 55.) The directory for this year gives the number of supervisors as ten, so that the larger towns are possibly provided for in this respect. There is no indication, however, of any great interest. Two normals have some recognition of it in the curriculum. (495.) The following school law passed the 1909 legislature of South Dakota: "Be it enacted by the legislature of SOUTH DAKOTA the state of South Dakota, Sec. 252. (a) The elements of vocal music, including, when prac- tical, singing of simple music by note, shall be taught in all the public schools of South Dakota, (b) Music shall be taught by instruction in all of the state normal schools, and the minimum requirement of graduates from such schools must be at least two hours per week for one school year, (c) In all graded schools, the word 'graded' is intended to mean all schools having two or more grades. Instruction in music shall be given by an instructor qualified to teach the rudiments of music. The in- structor may be a teacher of one of the departments who is qualified to teach this subject, (d) In the country schools con- ducted by a single teacher, the elements of music, notation by vocal and blackboard drill in connection with the teaching of simple songs, shall be taught. But no teacher shall be refused a certificate, or his grade lowered, on account of his inability to instruct or sing, (e) It shall be the duty of the county super- . intendent to have taught annually, in the normal institute, the elements of vocal music by some competent person, for at least twenty minutes each day". Approved Feb. 13, 1909. (61. 1909:43,77.) Below is given the 1912 report of the city high school teachers of music, with salaries and time of service: City Salary Years in position Aberdeen $1,150 4 Music Armour 495 1 Brookings 630 2 Canton 585 1 Deadwood 810 4 Fort Pierre 630 2 Music and drawing Groton 607 2 Music and drawing Huron. . 36 City Salary Years in position Lead 1,350 10 Music Rapid City 675 1 Music and drawing Sioux City 1,100 . . Music Sisseton 563 1 Music and English Sturgis 640 1 Music Vermillion 585 3 Watertown 720 1 Yankton 630 1 (60. 1910-12:79.) The list of universities, colleges, normals and academies having a music department is so large, that it is worth noting, also the music percentage of the total attendance: Total Music attendance department Augustana College 216 25 Columbus College 59 Dakota Wesleyan University 429 160 Eureka College 45 Freeman College 95 40 Huron College 343 113 Lutheran Normal 174 6 Northern Normal and Industrial School .... 475 Presentation Academy 25 Redfield College 126 49 School of Mines 64 Sioux Falls College 186 51 State College of Agric. and Mechanic Arts . . 518 49 State Normal (Spearfish) 490 State Normal (Springfield) 185 75 St. Mary's Academy 110 20 University of South Dakota 418 76 Ward Academy 125 50 Wessington Springs Academy 129 35 Yankton College 285 123 (60. 1912:90.) The conditions in this state are very promising, not only from the preceding statistics, but as shown in correspondence with the state superintendent, which is given in the total tabula- tion, page 46 of this thesis. Conditions in Nebraska do not favor the growth of public school music. Normals give only one hour each NEBRASKA week for one semester, which is not adequate for the preparation required to do the work. Much of the work has been done by pupils from private institutions and conservatories, with many failures, since the teachers have no academic and pedagogical training, and, consequently, are not in touch with school problems. Furthermore, the west in general has not awakened to the fact that this work requires greater specialization and more teaching ability than any other subject on the curriculum, if the work is to be anything but a mere pretext. The teaching of music is intangible, and hence elusive, which increases the difficulties very much. The middle west 37 has not gotten beyond the belief that a performer is unquestion- ably a teacher. Such is seldom the case. Nebraska has not realized the combination plan or teachers' preparation in two or more subjects, which has been followed by the North Central Division, and which seems to be a good solution where finances are an issue. The salaries are very low, and the result is poor teachers with poor preparation. In fact, many of the salaries are not self-supporting, but are drawn by some resident of the community. The table below gives the salaries and number of supervisors in the state this year: 13 towns $100 to $200 per year 12 towns $600 to $700 per year 15 200 300 5 700 800 14 300 400 2 800 900 5 400 500 2 900 1000 8 500 600 ' 3 1000 2000 Seventy-nine towns list supervisors, a little above the actual number, since a few teach in more than one place. Only five have combination with domestic science, and but two with drawing. In both cases not increasing the salaries much, since the subjects take little specialization, and are given for the most part, with scant preparation. (63. 64. 1914:76. 495.) The combination will necessarily have to be made in required sub- jects, if the teaching is to become sufficiently lucrative to entice capable teachers. The directory shows $36,182 as the total amount spent in this state for the past year. When one takes into consideration the fact that Lincoln spends approximately $45,000 yearly for private instruction in the grades, the above amount seems in- adequate. This condition exists in general over the state, where private instruction is often even more per capita than in Lincoln. The average supervisor's salary over the state is $458; omitting the two largest towns, Lincoln and Omaha, the average falls to $419.25. This sum is practically below a living salary. (64. 1914.) State provision is made whereby private work may receive credit, but the requirements are beyond the teaching ability in all but a few large towns, while the credit is so small that few care to earn it. (64. 1914:76.) A few mentions are made in the 1910 school report. The 1912 report has this extract: "Legislation in the teaching of music is needed in all schools of the state. After July 1, 1915, all teachers should be required to pass an examination in the rudiments of music." (69. 1910 all ref. 1912 :X.) The above legislation could hardly be possible at the present time; since preparation in private institutions costs about double in one year the expense of a full university course, at the present salary, it would then require about two years to earn what was spent in preparation. 38 While the Kansas school reports make no mention of music in the schools, the course of study for graded schools KANSAS has the outlined work for the eight grades, with sug- gestions as to the teaching. (66. 1914:128. 65. 1909- 10:53. 1911-12:52,69.) From the state superintendent it was learned that music is generally in all the grades, but not in all the high schools. As in other states, stress is being placed upon the subject. The large city centers are provided with excellent specialists in this line. All but third grade county certificates require music examination, and this has been the case for about four years. (400.) As to the possible per cent of schools offering such work, there is no clue, since reports have not been sent in. A large portion of the state is rural, the large cities being clustered about the Missouri river to the east, the stimulus of larger cities being thus remote from most of the population. WESTERN DIVISION. In Montana, every school that provides for music has a special teacher. The subject is recognized, and pro- MONTANA visions being made to care for the training of the teachers. The reports contain this quotation: ''The growth of Montana has induced the authorities to establish a conservatory of music upon the broadest art basis, and modelled after the foremost American and European institutions. Courses in voice, piano, violin, harmony, counterpoint, composition and analysis are given." The public school music course includes sight reading, musical history, harmony, teaching note songs, child voice and directing. The Montana Normal has two years of public school music, taught by a teacher from the public schools of Buffalo, New York. (67. 1910:17,18,152,154.) The College of Montana at Deer Lodge has a school of music, with instruction in piano, voice and violin leading to certificate, diploma or bachelor of music degree. The 1912 report says, "Custer county has added music, art, domestic science, manual training and commercial work at Miles City schools in the past four years. The teachers must be normal graduates with two years' experience in grade schools. The high school teachers must be college or university graduates of two years' experience." (67. 1912:7,61,107.) All normals have thirty-six weeks' training in music. (401.) Half the supervisors of Montana teach both music and drawing. (495.) 39 As early as 1903, the Manual of the Public Schools in Cheyenne had work outlined for the grades. Educational Music WYOMING Readers 1, 2 and 3 were used up to the eighth grade. Patriotic and other songs were introduced in the eighth, while there was no mention of music in the high school. (68. 1903.) For real educational conditions, the reader is referred to the Wyoming report of the normal school section in this thesis, page 87. They are not conducive to the best results. Seven cities contain a fourth of the population, and the rest attend one-roomed rural schools. The superintendent was unable to give any information which would be authentic. Inference is that the seven towns offer the sum total of musical instruction given. (402.) The State Normal School and State Teachers' College at Greeley have courses in music leading to a special COLORADO diploma, and a license to teach music in the public schools of Colorado. (69. 1911-12:147.) While no mention is made in the late report of musical work in the grades, the directory lists twenty-two supervisors for the state, five of whom are men. Four of the supervisors teach drawing as well. (495.) Mention is made of the work done by the high school chorus at the annual session of county superintendents at Denver. (69. 1911-12:26.) Aside from the above notices, there is nothing to be gleaned from the report. Colorado Springs gives this note in the Outline of Studies: ''Among the questions receiving special attention from all educators, is the effect of the study of music mentally and physic- ally upon the child, based upon educational principles. Music has reached the point where it takes its place upon the curriculum. Scientific people have found the mental effect of music and arithmetic to be the same. A well mapped out grade course is given, with chorus work and study of folk songs, sketches of the lives of composers and their compositions, in the eighth grade." The high school course has no music given. (69. 1907: 191.) In the city schools of New Mexico, music is generally in the grades and high school. (403.) The normal at NEW MEXICO East Los Vegas has a music department with twenty-two pupils. (70. 1910-12:79.) Six supervisors for the state are given in the directory. (495.) Music may be accepted to equal two units on professional certificates. (70. 1910-12:71.) As early as 1907, the Arizona school laws had this act as amended by the twenty-third legislative assembly. ARIZONA "Sec. 1. The board of trustees of any school district within the territory of Arizona is hereby authorized 40 and empowered to employ teachers of music and drawing, if they deem it for the best interest of their respective school districts so to do. ''Sec. 2. That the said teachers of music and drawing shall not be required to pass an examination, and secure a certificate authorizing them to teach in the public schools of the territory, as is required of other teachers." (71. 1907:58.) The same laws adopted the Modern Music Series for four years, or until 1911. (71. 1907:81.) As a matter of practice, vocal music is taught in practically all of the schools of Utah. Teachers are not required to UTAH pass an examination in music, yet school boards in- variably make it a point to secure one person competent to teach it. The normal graduates are qualified to teach it, as music is in the normal course. (404.) The following Beaver county plan is one worthy of mention. It is to have a special teacher of music and art, to travel about and give rural instruction, in order to keep the country standards up to those of the city. Where consolidated or county graded schools do not exist, this is a very happy condition for rural schools, and will tend to obliterate ignorance of the subject, when country children enter city high schools. As a rule, children from the country never entirely offset lack of under-training, in attempting to make up back work while carrying on full school study. (72. 1912:272.) For 1912, Davis county hired grade teachers who were proficient in music, for the school authorities felt that the sub- ject was neglected. (72. 1912:286.) The statistical report of the state superintendent shows the following conditions in music, as compared to other studies, at the end of 1911: Music Reading Writing Spelling Psy- chology Drawing Civil gov- ernment Counties City schools Salt Lake City . . Ogden Provo Logan Murray 47,616 16,695 5,26 1,988 1,08 936 59,364 18,145 4,924 1,988 1,808 936 59,242 16,805 5,095 1,988 1,808 936 59,211 16,805 4,603 1,988 1,685 936 17,922 13,069 2,730 548 370 151 56,749 15,617 5,260 1,988 1,756 936 5,089 1,213 53 354 Total 74,299 87,165 85,964 85,428 34,790 82,306 6,709 (72. 1912:815.) 41 At the end of 1912, conditions were as follows: Music Reading Writing Spelling Arith- metic Drawing Counties City schools Salt Lake City Ogden Provo Logan Murray 44,186 16,712 5,437 1,970 2,014 985 59,393 18,151 5,044 1,970 2,014 985 59,193 16,785 4,947 1,970 2,014 985 59,141 16,890 4,501 1,970 1,863 985 57,193 16,752 5,100 1,970 2,014 985 56,107 15,678 5,337 1,970 1,601 985 Total 71,304 87,557 85,894 85,350 84,024 81,678 (72. 1912:19.) Music is practically in all the grades and high schools, 100% teaching the subject, and has been so taught for six NEVADA years. The study is taught throughout the normal course, and the latter has a conservatory in connection with the school. Public school music is the phase emphasized. (405.) While no specific mentions are made in the late report, the appended note explains the attention given to musical study: "The reshaping of the school curriculum put in all forms of industrial training, manual training, domestic arts, agricultural courses, etc. A sort of Renaissance which caused a demand for better trained teachers and better salaries. Nevada has never been able to supply more than three-fifths of its teachers. There has been about twenty per cent increase in salaries in five years. There are comparatively few very poor teachers in Nevada." Concerning the work of the institute, provisions were made for discussion of music, drawing, school hygiene, sanitation and play ground activity. This was done because "music and draw- ing tend to refinement of thought and taste, and make greater enjoyment in the home". (73. 1911-12:22.) Music is recognized in all the schools of Idaho, but not required, and it is in both grades and high schools. The IDAHO normals have the subject taught in the course, while a conservatory is usually in connection with the school. Several references are made in the report to the work of the city schools. Barley public schools have the study in all grades, through the high school, and for a period of twenty-five minutes daily. Nampa schools speak of a band of sixteen members, and an orchestra of twelve in the fourth year of service. This remark was included in the report: "These organizations increase the interest, as well as attendance, give work at home during idle moments, and practice upon instruments." The same school had a chorus of seventy-five in 1912, as well as a girls' and boys' glee club, all under a special teacher. 42 The St. Marie's public schools put in music in all grades, the fall of 1912. Two pianos were bought and musical appreciation courses installed. The Weisner public schools mention glee clubs, an orchestra, and a band. (74. 1911-12:72 all ref.) Music is a recognized branch of study in Washington, with a suggested time of twelve minutes in the grades, WASHINGTON high schools optional. Most grades teach it. Normals are required to teach it for one semester. A conservatory is run in connection with such schools. (407.) Music is required for all certificates except third grade, and has been since 1909. Private instruction is beginning to be credited in the high schools. (407.) The state reports give as an idea of educational progress, the widespread use of the Victor- Victrola, or other musical instru- ments in schools of all grades. The normals have always had music taught, some of them with facilities to do really professional work in training students. (75. 1911-12:12,33,41,43.) The directory has eighteen supervisors for Washington. An interesting feature of this state is that a very progressive board of education requested that a questionaire be sent out over Washington, in view of a plan for giving high school credit for private instruction in music. The circular sent out is in the nature of questions in regard to viewpoint, means of crediting successfully, and other pertinent inquiries upon the subject. The tabulated results are given in the section devoted to private music study. Conditions are very favorable for the development of school music in Oregon. Although optional, all the first class OREGON districts and many of the second class teach it. All high schools credit private lessons, allowing three credits out of fifteen to be -made in this way. Thirty-six weeks of instruction are given in normals, public school music being the specialty. These schools do not support conservatories in Oregon. No examination is required for certification. (409.) Although school music is not mentioned in the 1909 to 1910 reports, many notices appear of musical departments in connec- tion with colleges and universities. (77. 1909-10:97 all ref.) The 1910 to 1912 report has an extremely interesting article upon the attempt made to bring the school and the home into closer touch. A deep and widespread interest in agriculture, domestic science and manual training was created. Teachers were asked to make recognition of work done in the homes, and thus estab- lish habits of home-making. Juvenile courts found that children must not be institutionalized so much, that they were not con- tented in a real home. Bulletins were issued suggesting some of 43 the ways to handle the problem. Some parents say their duties were reduced one-half. Effort was made to instill a dignity for labor. The first step was home credit. The second was more than surface knowledge, and a desire to become expert in the science of bread making, sewing, gardening, carpentering, etc. The industrial fairs cooperated with the State Bankers' Association, the latter furnishing a field worker and a steno- grapher. The Union Stock Yards also furnished a field worker. The state educational department managed the contest. All county superintendents, all newspapers and all ministers were written to, the latter being asked to preach sermons upon the subject. The agricultural college prepared a bulletin telling children how to raise vegetables, how to do handwork and other things, and distributed this to school children. All but one county participated. The prizes amounted to $20,000, and seventy-five thousand children exhibited, out of a total of one hundred twenty-five thousand. (77. 1910-12 :V.) Such in brief was the awakening which took place in Oregon about two years ago, and resulted in the unusual crediting of private music study, even to the extent of a fifth of the high school period. Of any state report, this shows possibly the greatest ferment and almost dramatic activity in educational life. Such a move- ment is likely to bring about new adjustments, and institute great changes in educational thought. This is particularly so in newer states, unhampered by old tradition and set forms. The city conditions in some of the high schools are summed up as follows: Town Subject Salary Years ex- perience Preparation Astoria Drawing and music $900 2 Goshen College of Marshfield .... Hood River . . . Applegate Grant's Pass . . . Elsmath Falls Music Drawing and music Music 900 ' ' 720 ' 810 1,066.66 5 "3" 5 2 Music and Art St. Louis University Ferris Institute Cornell and Chicago Chicago Conservatory of Music N orth western Albany . . . Music and art 10 Indiana Normal Washington High School. . . St. Johns Island City .... The Dalles .... Music Music (part time) . Music and drawing Music and drawing 400 360 900 900 25 6 5 3 Chicago Conservatory of Music Ann Arbor (Michigan) Conservatory Indiana University While probably not a complete list, this table shows an average salary of $772.88 plus, as well as excellent preparation 44 on the part of the teachers, many of them being trained in eastern institutions. This point is very noticeable in the selection of teachers for western normals and universities, as will be shown in dealing with these phases later. The length of time in service shows that public school music teaching is becoming dignified enough to be an occupation. (78. 1915:61 all ref.) The following note is taken from the report of the Portland schools and is very interesting on account of the pedagogical principles involved: "The teaching of music is based upon the same principles as that of reading. First is the musical idea, then its representation in musical notation, and, lastly, calling up the idea by its representation, as found in experience of exercise and songs. Music holds as important a place in the training of the young as any other study. Early ear work is imitation, then comes powers of discrimination. Dictation exer- cises should be complete phrases. The first work of written music should be groups of notes. There should be a correspond- ence between the soul of the song, and the heart of the child. It is not always the singer who gets the best results." (79. 1911:245.) Music has been recognized in the schools of California since 1879. At the present time, it is generally in all CALIFORNIA the grades and high schools, 100% taking the subject as a study. The normals require music throughout the course, and it is required in examination for certificates. (410.) Probably more than any other state, California has music upon an educational basis of high standard, which is to be expected, considering general educational conditions, and the abundance of resources. City schools have exceptionally good music, while rigid laws, and compulsory instruction in the normals, are bringing teachers up to the proper teaching standards. A large and wealthy tourist class who winter in the state, tends still more to increase funds, and to exact better work in the branches not usually emphasized. UNITED STATES POSSESSIONS. In 1907 (correspondence in master's thesis), music was not usually taught in Alaska, but where found, it ALASKA was generally under the direction of the regular teachers. Sitka, however, had a music specialist in 1910, for five months, with a salary of $10 a month. The teacher came from Denver, where she had gone through the grades. Seventy-five children enrolled, and a beginning was made in note-work. (84.) For present conditions, a letter from the governor states that little attention is given to music, and that he "believed none of 45 the schools employ specialists in music, except, possibly, in a very limited way, in one or two of them. Such instruction as is given is dependent upon the inclination of the teacher." In general, the governor stated that Alaska children are as fond of music as children in the United States. There are approximately twenty-five hundred children of school age (six to twenty years) in the territory at the present time. As early as 1905, music was recognized in the principal cities of Porto Rico, and was compulsory. It was also PORTO RICO in the grades and high school in San Juan, and compulsory. Unless a grade teacher gave the subject, it was not taught in the interior, however. (Correspondence in master's thesis.) The inhabitants are very fond of music, but the speaking voice is very harsh. Pianos are used in private homes, and the children study in the private Catholic schools. The finer sensibil- ities are crude, since they prefer a loud, noisy style and class of music. Rio Piedras has a music supervisor, and training is given through the eighth grade and into the high school. Every town has its plaza for band concerts. San Juan has a concert twice a week. An excellent military band is supported at San Juan, and an orchestral society exists. Santurce likewise has its own band. Folk dancing, physical culture, play ground work and national songs are taught regularly. The university itself aims to teach singing. A stringency in finances has caused the curtailing of educa- tional expenses this year. Many teachers have been discharged, while the salaries have been cut a third, in some cases. All accessory studies have been set aside, and the arts have suffered. Possibly the condition is temporary. (412.) In the Philippines, grades I and II have singing, grades III and IV have music twenty minutes daily, PHILIPPINE ISLANDS grades V, VI and VII have three half periods a week of twenty minutes each. The secondary course has no music. The teachers' course has music for a half period in the gram- mar grade. (85.) A series of books are required in the list of texts used. The teaching of music is continued through the high school. Perhaps a half dozen specialists are employed, but no musical examination is required. Music has been required about ten years. Manila has a symphony orchestra. The first program for 1912 to 1913 included the overture "Der Freischiitz", and Dvorak's New World Symphony. (86.) 46 Q CO X! 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Time optional. Yes, not compulsory. Time varies. Yes Yes. two vears' trainincr . J 1 i *3 : . cr &8 : O H C >H 3 BQ o o3 1 8 11 'o ! -1 1 : JH 3 Q : > .S : Cj ; 'o S : C -t T3 ^d S3 'fl . C S O O Z > JZ !Z; ^ f ; ; 2 g S 1 1 "c8 'J2 ^ >> rA W | O J 5* O i 1 1 2 | ^o , 5 1 ^^ ^ 1 ^ H H 9 S C > g o 0> 1 g S g 8 6 O S 6 6 ^ 3 OJ >H >H 5? ^ I What phase is emphas Public school musi< practical music? Various requirements Both, especially voic public school music. Public school music. . Public school music . . 'o All, but public school chiefly. Public school music Public school music . 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CJ |* 3*3 ^ Pu 1 1 3 X5 3 PH O > >i CD CD OJ e- b 03 X 2 en c o ~*"^ 3 13 j 6 s * 8 f . "o3 bC 3 CD 8 3 5 o ^ g 13 CD O "cQ i-22 *+- < CW CJ r C 4^ |* CD en t <~\ g 3 O 1 -i-J o &5 lS 1 1 0) bfl 'en o ^ pE c T3 i i CD ^ CD ^ hH CO. CO en CD >- 4-T X bfi 03 cc n en" g en CD fl f CO CO en- CD H S 6 f^ c e CD o >> a ^e- 2 en .' i^ J'S en 4j M * oJ > 3 'S, o o |l |S c c o w ^ ^^ c3 O 6 O Q^ ^ CD S *Z Jz; >H M >H 2 o ; -4-> CO CJ C CO j-l Wyoming . New Mexi 1 Nevada. . O 03 Washingto 1 0) California . 58 1 * o| S. S-| CD 1 % B*2 > bC ^rj-J j3 GS 05 m w .is "o ^-2^ 3 o 3 3 .^H Q) p 2i a IIJ >. ^ 2 ^ *> ^ ^ 3 P M QUESTIONNAIRE SENT TO STATE SUPERINTE Do you see a way in which our musical educatio; may be strengthened? Vermont has the union system of supervision. Each several townships. By 1912 law, the school boards of a i employ an instructor in music for all the schools of 1 Two such teachers were hired the past year. '. 3 o o in o : 3 ; A : 3 : | : S a; Music does not need strengthening. It has a very livel constituents, most of whom have no perspective. Th music as quite as important as the three R's, or cha agriculture. They are not self repressive, and are never reflective ability. The result is that the subject is gh emphasis, and in all cases ought to be kept within : bounds. *-, In n to -M y ' S l ?| li 09 ^O 4J S3 Music should be taught with more emphasis, but the ti been to get satisfactory teachers. O .22 tf % 5 o r*H oj *55 Q 3 in. W T3 Sg d tf $ tgc*, 5 a W *g> ^0 J .S 1 5 O JH o *^d ^ r^ 'T^ a '"2 M 1 CO 2 "* ^^^ *H g S cd Q^ o 02 '^ S fc_ Q i i HH g S'| 4-H H S cr c/r HH cS O OJ ; o o S Q O 8 : 2 O o I ; 2 ^ c$ O 1 ' 1 | ^ 1 CO CO 1 1 ^ ci <1> 1 O 1 3 1 CQ Q Q c ^ g ^ flj fe > a & O 0) 5 n . -4-3 a g . 1 *< O 3 '^^-J 5 1^, .2 -J bo ^! ill 1* o^g- 3 I 11 '53 2 ft ^ g ^ CU'~ TO'H, 2 a> *{ 1 *3 a* 3 O ^3 a, C 2 g ^J3.2 M a> 13^ a; 1 0) BH 1 1 "s ^^ a3"S 2 TO 5 ^OJ HH bfl & O >> O> o TO ^ fl C M -4J 1 W ^ 4) O "EijD ^* .22 fl) f-^ 3 o " -4-J bC ^ ^g) ^3^ 03 o 1 O 3d) "^ S ^M O o '53 -2 CC -2* M (u 'o Q 43 TO '^ 1 "* ^ >5 ^ CJ O? -^ -2 X o 1 a r* *r~^ o .J3 OJ TO CX a) C m TO H w' s J5 ^ K jg'3 ^ CD o t i 1 ; cr TO (1) 'I o 00 i IjT $_ HH g o 1 o o o 6 O O 8 H Z ^ ^ g e ;| : : Q : w 1 ^ 09 .g : 3 8 &? s 1 > ^ 1 -^ ;* i 1 2 -a 1 g *c -2 ^ Z P=H S Kentucky. . Tennessee. . g TO c3 '53 'I < H-l 1 Oklahoma. . O O DQ 60 C/2 H I 2 I 3 H OH CQ W w CQ w 5 jz; 1 H i o> o 5 -t-> H ?! o | g, a I a If if jl irfrfl!}!!! flea fl 2 M - o o fc jz; -|j O O) o o ox OQ g 3 2 I '-5 .a .2 I .1 S S 5 S 61 3 S J-, 0> a rfi fi u o> 'rfi -M | .a ^ !! 1 O p ' N I. = Ss II c-~ v II g t la is WJ 1 f-i *-H 03 rH hough Music is the stimulating. The state which we sh bO 4J fi o *d C M HH S each step Prop musi then the of p t t S fe^' 3 a be s ilS'fi I 03 05 O 62 fc O I p o* << o m I t-H H S O O o o o 02 O 111 ~l 3 o >> "o'^'l 'o^ O G 0) > 'So |So jiiji * S B'l S "5 ^ bc^ 4J *S 5 73 "S _, s ^ " J0 O be >>"d 43 bfl I bfi . Oi s 63 DISTRIBUTION AND NUMBER OF SUPERVISORS. Women Men Total Combinations with music Draw- ing Dom. Science Manual Training Writing North Atlantic Division Maine .... 26 16 8 69 2 17 99 17 51 3 1 3 19 10 6 28 3 13 7 17 12 8 33 4 11 24 45 65 79 38 42 55 27 10 16 74 22 3 8 45 3 13 12 10 28 1 1 1 1 4 5 2 1 4 37 12 8 3 2 4 5 1 1 10 I 2 29 24 8 114 5 30 111 27 79 4 1 4 20 10 7 32 3 18 9 18 12 8 33 8 11 61 57 73 82 40 46 60 28 10 17 84 24 2 2 ' New Hampshire Vermont .... Massachusetts Rhode Island Connecticut New York New Jersey Pennsylvania 4 "l" 30 y 1 1 1 1 South Atlantic Division Delaware Maryland 1 District of Columbia . . . Virginia West Virginia North Carolina South Carolina Georgia Florida . "2" i' ' ...... 1 South Central Division Kentucky Tennessee Alabama i Mississippi Louisiana Texas 4 2 1 1 y 2 32 11 8 11 3 5 2 6 4 Arkansas Oklahoma North Central Division Ohio Indiana Illinois Michigan Wisconsin ' '2' ' 1 1 1 "l" Minnesota Iowa Missouri North Dakota South Dakota Nebraska Kansas . . "2" 1 i "i" 64 DISTRIBUTION AND NUMBER OF SUPERVISORS. (Cont'd) . - Women Men Total Combinations with music Draw- ing Dom. Science Manual Training Writing Western Division Montana 9 4 17 6 8 2 1 6 17 9 30 1 5 11 2 1 1 6 9 5 22 6 8 13 1 8 18 10 36 4 Wyoming Colorado 4 4 1 New Mexico Arizona Utah Nevada Idaho Washington* Oregon California! i 1 * r ' i 7 2 Total 1,089 254 1,343 173 7 7 6 *Art, 1. fSewing, 1. SUMMARY OF REPORT UPON SUPERVISORS. The total number in the United States equals 1,343, perhaps slightly more, since the report of 1914 would not include places where supervisors were hired for the first time this fall. It will be noticed that about 20% are men, showing that the field is becoming sufficiently lucrative to make it a life position. The Connecticut report, page 9 of thesis^ shows twenty-three super- visors receiving from $1000 to $3,100. The above report shows that the same state employs practically half men teachers in this study. The number of teachers for the different sections is as follows : North Atlantic Division 427 South Atlantic Division 81 South Central Division 117 North Central Division 582 Western Division . . 136 DISTRIBUTION AND NUMBER OF SUPERVISORS. The North Central Division has a much larger number than other localities, the North Atlantic Division ranking second, the South Atlantic Division having the least number. The older states follow the practice of placing one supervisor over several schools, as has been shown before, hence a smaller number results. 65 Massachusetts, Pennsylvania and Ohio each show over half of the teachers to be men, Utah almost exclusively men, the latter two states being the only states in which women are a minority. A feature worth noting is that 173 schools combine the music and drawing teacher in one, making a larger salary possible. The North Central Division leads again in having ninety-one such combinations, which explains why it affords to hire so large a number. In this, Michigan leads, since thirty-two, practically half of her supervisors, teach the double subject. The same division has six combinations of music and domestic science, only one other such combination occurring, and this in Arizona. Seven combinations are made with manual training, approximately half of which are in the Rocky Mountain states. Six combinations are made with writing, again half being in the North Central Division. One combination with sewing is found in the same division, and one with art in Washington. It will be seen that, while the North Atlantic, the North Central and the Western divisions are all combining strongly with drawing, the North Central Division is pushing this idea of combination into three other lines. The large number shows that these states have been successful in this solution of the problem. As will be shown later, a number of the normals are advocating the study of drawing with music, and are putting it on the curri- culum with that end in view. Combinations with heavier subjects will tend to increase the salaries still more. This latter idea is being carried out in some of the normal teaching faculties, as will be noticed in the discussion of normals in Part II. In the number of supervisors, Massachusetts ranks first with 114, New York second with 111, and Nebraska is third with 84, several others approximating that number. SUMMARY. As much as possible all through this section of the thesis, the report was made out with the purpose of collecting all the in- formation available upon rural sections and conditions, since no such attempts have been made heretofore, and is only possible by close inspection of school reports. The writer has had occasion to notice that state officials do not always know the real con- ditions. Of the North Atlantic Division, Maine and New Hampshire exhibit the least activity in the study of school music. In con- trast, Massachusetts, Rhode Island and Connecticut present serious work and encouraging signs, with New York undoubtedly leading in progress! veness. New Jersey offers a strong township 66 idea, and cooperation between the supervisors, while Pennsyl- vania shows the same activity as her sister states. The best of the teaching centers naturally in the cities, and the states having the largest number of such centers inevitably present work of a better quality. In many parts of this division of states, there is no rural problem, hence information is more readily obtained. Passing to the South Atlantic Division, both Delaware and Maryland show conditions not favorable for art growth. Low funds make poor teaching the rule, while probably what is given centers in a few towns. Virginia shows a late growth of activity in normals, with a radiation out into remoter districts, yet the activity is educational in tendency. West Virginia indicates also late development in this line, with approximately half the schools offering instruction. North Carolina exhibits the same mushroom growth as the preceding states. One reference is made where Latin was dropped to make room for music, a proceeding not heard of ten or even five years ago. South Carolina tends to more practical subjects. Here the race problem enters and finances hinder. Georgia shows awaken- ing interest of recent growth, as exhibited in college courses and in contests, but without a fusion into the school system. Florida recognizes music in an elementary form, and has made attempts to better her conditions, but popular sentiment is not yet ripe for radical changes. The South Central Division offers conditions equally favor- able to the South Atlantic states. Kentucky presents the work on a strictly educational basis, with attempted uniformity in the course of study. Eighteen supervisors have been given employment. Tennessee also makes music prominent as a study. By contrast, Alabama has little finances and the race problem to contend with, hence no vital effort is being made to raise the standard, other than normal school recognition. Mississippi offers little promise in educational standards, and still less in art lines. Here again a race problem enters, as the state is over half negro population. Louisiana presents the work in the grades generally, optional in the high school, since finances hinder such training. In Texas, a sparse population, large area, and fewer large towns, tend to make conditions less favorable, while information is hard to obtain. Arkansas has attempted state supervision and a uniform course of study, both tending toward standardization. Okla- homa possesses extremely fortunate conditions in splendid finances, an intelligent class of people, and progressive school officers. Unless retarded in some way, it gives good promise. 67 The North Central Division presents growth which is almost dramatic in its intensity. Ohio completely reorganized in 1913, with forty counties well outlined, and with expectation of building toward a national head, thus constructing a complete machine. Indiana presents an equally serious phase, with the same tendency toward concerted action, while Illinois has busied her- self for several years in an effort to cooperate with high school supervisors. She has also emphasized such instruction in in- stitutes. Michigan has been actively engaged in an attempt to standardize school music, and presents a good grade of work. Wisconsin stands peculiarly alone as the advocate of com- munity music, radiating from a university center. The work of Minnesota is promising, interesting and com- mands much state attention. Iowa shows a splendid status in an educational way, music being in practically all schools. Missouri has concerted action, state notice and lenient measures to raise the standard of teachers, and the normals are unusually active. North Dakota is not up to the standards of the states of this group just mentioned. South Dakota shows good activity, a basis for state supervision, and well supported courses in smaller colleges. Nebraska offers a standard considerably below that of any state in this division, unless it is North Dakota. Kansas presents the subject generally in the grades, but optional in the high schools. Conditions are good and of a serious nature. In the Western Division, activity is likewise very marked. Montana has a new and rapid growth, with an attempt to prepare fitted teachers. Wyoming is less favorable and probably offers little without the towns situated along the railroad. Colorado recognizes the study in an educational way, but not characterized by the intensity shown in the Central states. New Mexico has placed music quite generally in the grades and high schools. Arizona has favorable laws and encourages the study in every possible way. Utah likewise offers music educationally and favors it very materially. Nevada has the study in both grades and high school, while Idaho has out- stripped her educational status, in outlining the work for music in her schools. The activity is surprising, with excellent chances for working put a good standard. The Pacific states all present the feverish activity which characterizes most of the North Central states. Progressive school officers, and educational leaders who favor broad culture, have pushed the subject to the front very rapidly. California probably leads any state in the union, in her uniform and deliberately planned systematic presentation of the subject. Supported by an advanced school system, music study has very fertile soil in California, besides abundant resources. Of the three states, Oregon probably has the least activity. 68 Yet most of her first and second class high schools teach music, and credit outside study. The spirit of cooperation is very active in this state, and shows evidence of causing an educational ferment equal to that in the North Central states. Unfortunately, space forbids the interpolation, at this point, of the status as determined in 1907, but brief reference will show that conditions as they exist now, are a remarkable growth and unexpected. At that date, the bulk of the musical training as an educational factor, was contained in the North Atlantic Division. The southern groups were very generally, supremely indifferent, both in reports (as none were made), and in corre- spondence with state superintendents, since few replied from the southern states in 1907. The greatest change has been wrought in the central and mountain groups, where the activity is intense. Present correspondence was practically complete from all states, and showed great interest, emphatic approval of the subject as a school study, and a strong desire to learn the results of this investigation. Only one letter of adverse comment was received, and from a New England state. Extended correspondence with several prominent educators of the west failed to give absolutely satisfactory reasons for the activity of that region. After a careful study of the entire field, and with such information as was obtainable from generous correspondence, these seem the most logical conclusions, as the problem has presented itself. A new system, and the remnants of pioneer stock lend them- selves most readily to change and rapid reform. Moreover, the picturesque scenery, and wild beauty of many of the western states foster a poetic, dreamy element, which is hard to preserve in the crowded thoroughfares, intense industrial pressure, and artificial modes of life in densely populated states. There are fewer cheap attractions to distract the attention, while new conditions enforce greater activity in the usual routine life. The western problem is largely rural; the eastern, one of the more densely populated cities. It is not impossible that each section will work out a system upon a different basis, since the needs are widely different. There can be little doubt but that the North Central and Western divisions are working out the problem much faster than the older eastern states, which seem, in com- parison, to have fallen behind. Resources are not lacking, and are easily obtainable for educational purposes in the west. The independent western constitution, full of vigor and energy, which must necessarily work itself off in some way, finds its most ready expression in forms of art, as rugged as the people themselves. The lack of many great symphony orchestras, or any chance to indulge a natural craving for good music, in- evitably leads to the production of some form to supply the 69 deficiency. It is this element, a longing which must find its outlet, which is one fundamental cause for much of the evident activity. Not less surprising is the advance in the south, yet industrial conditions are not so favorable as in the west and central west, where they seem ideal. Even the absence of orchestras and May festivals upon the frontier, are being offset by the advent of music upon the uni- versity curriculum, and the possibility of available funds for bringing in more artists from the east, and of increasing the number of touring artists. For additional information in regard to city activity, the reader is referred to the pamphlet " Music in the Public Schools", by Earhart, gotten out by the government printing office last year. However, the report of the public schools and high schools is the least satisfactory of the article, since the study was made on a basis of only six hundred eighty-one towns, and there is no clue to locality or distribution of such activity. A town census has the added drawback, that it represents only the cream of all state systems, while a true survey must take into account the rural phase. In the west, this element is a more important feature, for, in many states, the population is three-fourths rural. Owing to the fact that stress was laid upon city conditions, in the government report, the writer has avoided going over the same grounds, except where clearness made it necessary. The summary of this phase of the study will be more illum- inating after the discussion under psychological research, since that section contains some of the fundamental causes of activity, which could not be introduced prematurely in a discussion of the subject. PART II i DIVISION I NORMALS 73 CHAPTER 1. NORTH ATLANTIC DIVISION. Maine is partly a rural state, 48.6% living in the country. Over half of the schools are ungraded. MAINE The state supports five normals located at Farming- ham, Castine, Gorham, Presque Isle and Machias. Provision is made also for four summer normals. The Mada- waska Training School at Fort Kent, in the extreme northern part of the state, is maintained for the purpose of training teachers for northern Maine. There are five hundred fifty-two teachers in the free high schools, and two hundred nineteen in accredited schools. (87.) The last school report of Maine shows no interest in the sub- ject of school music. In 1911, the Eastern State Normal School had such a department with but five enrolled. The state summer school at Fort Kent also had a music course. (1. x 1912:19,21. 1915.) Otherwise than these mentions, there is scant information concerning the subject. There are no statutory school studies in New Hampshire, except temperance, physiology and hygiene, NEW HAMPSHIRE humane education, and the constitution of the -United States and of New Hampshire. The state supports normals at Plymouth and Keene. There are also four city normals at Concord, Manchester, Nashua and Portsmouth. The state has seventy-two public high schools. (87.) The interest in music is also very local in this state, the school reports making scant mention. The following remark, taken from a paper read before the Music Teachers' National Association, is worthy of note: "It has been suggested in New Hampshire, that no one be admitted to a normal in 1912, who is unable to sing several standard national songs from memory, and by 1914, the requirement should be two years of music, voice and some theoretical work/' (3. 1911-12:475. 1910:164.) This shows the tendency to normal recognition, at least. Vermont emphasizes public school music in the normal courses. There are no conservatories in connection VERMONT with these schools, nor is any examination in music required. The state owns one normal and leases another. These are attended by about one-eighth of the teachers in the state, so that practically that proportion would be in a 74 position to receive whatever musical instruction is offered by the normals, in the way of training teachers. (87.) Music is a feature of the normals of Massachusetts, and each school is authorized to employ a teacher of MASSACHUSETTS music. Principal Durgin, who said it was incumbent upon normal schools to make such training as effective as pos- sible, suggested the following course for grade teachers: a. To read and write the language of music. 6. To hear tones and feel rhythm, on seeing the presentation. c. To express thought with the singing voice. d. To recognize and write simple melodic phrases. e. Skill to present the subject matter of music clearly and logically. /. Sufficient skill and sensitiveness to tonal conditions, to secure and retain the naturally beautiful "tones of the child's voice. Beyond this point a supervisor's direction is indispensible. (5. 1911-12:39.) Seven-eighths of the students enter Framingham normal without examination in music. At Salem, three-fourths enter thus. If examined in music, however, and fail, they are con- ditioned. Most of the music which has been taught in these two normals is chorus work. Classes in these normals number from twenty-five to thirty pupils, with one class a week, and devoted to scales, keys, inter- vals, time, voice culture, sight reading, ear training in major and minor seconds, and simple harmony. A good public school music course covers this in one year. The second year's work in these same two normals, is the application of the first year's principles in the grades. Rote songs and their relation to school music is the first work, with quality of tone. Pupils are required to prepare and give lessons. This second year does not pass beyond the fifth or sixth grade. Original compositions of four to eight measure phrases are composed. One period a week is given to the study of general assembly work. (475. 1910:168.) Special efforts are being made by the Lowell State Normal for training supervisors, since the supply coming from private agencies has failed on account of scant pedagogical training. (5. 1912-13:43.) Altogether, the state has ten normals which are located at Bridgewater, Fitchburg, Framingham, Hyannis, Lowell, North Adams, Salem, Westfield, Worcester and Art School, with a music specialist in each. (7. 1914:4.) Rhode Island employs 2,300 teachers, 60% of whom are normal graduates. Approximately one- third of RHODE ISLAND all the teachers are in Providence. Only 3.3% of the population is rural. Since 60% attend normals, thirteen hundred and eighty of 75 the state teaching force are placed in a position to avail them- selves of courses in public school music. (87.) The subject is taught and compulsory in Connecticut. The normal course is forty weeks in length in the CONNECTICUT musical instruction. No examination in this study is necessary for a certificate. (379.) The state normals, four in number, are located at Danbury, New Britain, New Haven and Willimantic. Bridgeport has a city normal. Forty-five per cent of the teachers attend these normals, and secure compulsory musical training. (87.) New York requires one hundred twenty periods of music in each normal. Public school music is the phase NEW YORK emphasized. Potsdam has a special two year course covering training for teachers. (380.) New York has 4,576 teachers, and of this number, 60% are in the cities. Two-thirds of the state's population is in cities where the school system is well developed. The state supports ten normals, the Albany Normal College and extends aid to ninety-five high schools and academies, and fifteen cities for offering teachers' training courses. The requirements in music are, for the most part, shaped by the course prescribed by the regents, which was given on page 10 of thesis. (87.) Three-fourths of the population of New Jersey live in cities. The school system is well developed, being one of NEW JERSEY the better centralized state systems, with the county an important unit. There are two state normals, one at Trenton and one at Montclair, with city normals at Elizabeth, Jersey City, Newark and Paterson. (87.) The state normal at Trenton has excellent courses covering applied branches, and offering advanced courses beyond the requirements for the state certificate to teach music. The courses approximate a good standard conservatory curriculum. (12. 1911:48.) The laws of Pennsylvania require fifty forty-five minute periods in vocal music, in the first year in the PENNSYLVANIA normals, of which there are thirteen supported by the state. Three cities, Philadelphia, Pitts- burg and Reading maintain city normals. (87.) As early as 1899, Keystone State Normal had music in the course, mostly chorus, yet from an educational point of view. (91.) ' The Bloomsburg Normal gives as thorough a course as a con- servatory, in the 1910 report. Applied courses leading to diplomas with full theoretical work are outlined. Public school music is a prominent feature. (93.) 76 The Indiana Normal School of Pennsylvania had voice culture in 1897, to develop "power, flexibility, resonance and purity of tone," with the idea of making " movements natural, easy and graceful." (92.) The Pennsylvania State College had this enrollment in four years: Year 1910 1911 1912 1913 Enrollment 8 59 46 (13. 1913:358.) In 1911, Kutztown Normal secured the assistance of a fine vocalist (13. 1911:295.), and in the same year Eleventh District Normal secured a graduate of the Royal Conservatory of London to teach instrumental music. (91.) CHAPTER II. SOUTH ATLANTIC DIVISION. Delaware has no normal schools, but allows a sum for those who wish to study in some normal elsewhere. The DELAWARE extremely low salaries, $25 or often less in the rural schools, do not encourage special studies of any kind. Only elementary branches are taught to any extent, in most of the schools. Since less than 1% teach music as a study, one is justified in saying that music is not recognized in the schools. (87. 382.) Maryland has three state normals, and the normal depart- ment of Washington College. Of these, the Mary- MARYLAND land State Normal School at Baltimore has an instructor in music. The Maryland Normal and Industrial Institute for negroes, has music in the curriculum for the first three years. The other two normals make no provision for teaching music to teachers. (15. 1911:137,144,427.) Virginia supports seven normals, and although little informa- tion was obtainable concerning the extent of their VIRGINIA musical training, the state recognizes the subject in a surprising number of summer normals. The following table shows the number registered in these summer courses for three consecutive years. SCHOOL MUSIC ENROLLMENT 1910 1911 1912 1910 1911 1912 Petersburg 18 Covington 12 76 30 Winchester 25 Chase City 15 37 40 Seaside 50 ... 22 Farmville 90 Martinsville 90 139 168 Big Stone Cap 24 Galax 20 111 ... Univ. of Virginia .. 55 .. 115 Emory 89 29 31 Lynchburg 5 (20. 1910 all ref. 1911 all ref. 1912 all ref.) 77 In 1911, only two summer normals made no provision for music study for teachers. In most cases, the increase from year to year was very marked. Since 77% of the population is rural, this means a large diffusion of this special training into the agricultural regions. (87.) West Virginia supports six normals for white students and one for negroes. In spite of advance, the state WEST VIRGINIA is still a little backward educationally. It is essentially rural and relatively poor, yet with large undeveloped resources. The people are much in earnest about education, but poverty hinders progress. Glenville State Normal had fifty-one studying instrumental music in 1911 to 1912, while Shepherds College State Normal had forty the same year. All the normals teach music, each having a special music teacher who gives much of her time to music. (22. 1911-12 :46,52,54,57,68,76,383.) Educational growth in North Carolina has been retarded through lack of funds, until lately. State aid NORTH CAROLINA was not granted until 1899, and as yet is small. The money spent for education has trebled in ten years. One- third of the population is negro. 35% live in the country. There are no large cities in the state. In 1910, there were 11,216 teachers, one-fourth being colored. 31% of the white and 46% of the negro teachers had normal training. The state supports three normals for white, three for colored teachers, and one for Indian students. (87.) Although not compulsory, music is taught in the normals, so that the above per cent of normal teachers have had the privilege of preparing in the subject. (384.) There are about six negroes to every white person in South Carolina. Only Mississippi has a larger num- SOUTH CAROLINA ber. The white race exceeds the negroes in ten of the forty-three counties. The state is rural, agricultural and relatively poor. The school term is about one hundred days, three months being required. The state supports the Winthrop Normal and Industrial College at Little Rock for white teachers, and a colored Normal Industrial and Mechanical College at Orangeburg. Charleston has the Memminger Normal School which is a city normal. In order to get trained teachers, the state board approved the courses in twenty institutions for white students, and nine for negroes. There are uniform examination questions throughout the state. (87.) The normal at Rock Hill has music on its curriculum "as an industrial art, not as an ornament." The aim is to learn to teach music. Vocal training, vocal interpretation, expression and criticism are all taught with special stress on public school music. (97.) 78 Georgia has 45.1% negroes, only Louisiana, Mississippi and South Carolina having a larger per cent. In one-half GEORGIA of the counties, the negroes outnumber, and in a fourth, they outnumber two to one. 84.4% live in the country, only 11% being in cities of more than eight thousand inhabitants. In illiteracy, Georgia stood sixth in 1900. Outside the cities, there is little equipment for educational purposes. The average value of publicly owned school houses during the last year was $1,800, as near as statistics were avail- able. Much of the money for repairs, etc., is raised by private subscription. The state helps to support four institutions for training teachers, one being for negroes, also three private normals and industrial institutions, all for negroes. Wages are low. The high schools are better than those in the neighboring states. (87.) In 1900, 43.6% of the population of Florida was negro. In twelve counties they outnumbered, in two counties FLORIDA they outnumbered four to one. 17% of the whites and 19% of the negroes were normal graduates. The state supports the State Normal and Industrial School at Talla- hassee for negroes, while the University of Florida and the normal department of the Florida Female College serve as normal schools for white teachers. The state also maintains two summer normals of two months each for white, and one of six weeks for black teachers. (87.) Music is taught in these normals, but is not compulsory. The two phases are emphasized, public school music and the more cultural study of voice and instruments. (385.) CHAPTER III. SOUTH CENTRAL DIVISION. Kentucky has a 13% negro population. 78.2% live in rural parts, so the state is agricultural. Schoolhouses KENTUCKY and repairs are still largely provided by local sub- scription. Up to 1906, the white teachers were prepared in private institutions. In that year, the eastern and western state normals were established by the legislature. For some time the state has supported the Kentucky Normal and Industrial Institute for colored teachers. (87.) Music is taught in the normals, but not compulsory, and there is a conservatory in connection. (31. 1910-11:180. 386.) The school report of 1911 lists a free music course in the Western Kentucky State Normal. Sight singing, music structure 79 and methods are the phases taught. A course is given to prepare supervisors, and a certificate issued for the same. Lessons in private applied music along more professional lines are also offered. (31. 1910-11:180.) The state normal of eastern Kentucky has the following preparation for the grade teacher: singing, reading, easy melody writing, good tone, pure enunciation, accuracy in intervals, note reading, and rhythm. To this end, theory, ear training, notation and dictation are introduced into the course. The advanced course is closely applied to psychology of muscle control, and development of brain cells. The applied courses are four years of professional training. (99.) A new educational spirit has pervaded Tennessee for the last few years. In 1909, provision was made for three TENNESSEE normal schools for white teachers, the east, middle and west Tennessee normals at Johnson City, Murfreesboro and Memphis, respectively. There are approx- imately 11,000 teachers in the state, 18% being in the colored schools. One-fifth of the population is colored. There are a few large cities, but the state is largely rural, over four-fifths of the inhabitants living in the rural districts. (87.) The normals teach music, but it is not compulsory. Public school music is the point emphasized. The subject is usually introduced in the normals by a department for that purpose, and not through a conservatory. (387.) In 1900, Alabama had 45.2% negro population. In one- third of the counties they outnumbered the white race; ALABAMA in one-sixth of the counties, they outnumbered three or more to one; in six counties, the negro element predominated more than five to one. The state is essentially rural and agricultural. It has 7,757 teachers, one- third being men and one- third negroes. The aver- age yearly salary is about $200 for men, $150 for women. 55% of the white teachers, and 58% of the colored are teaching on third grade certificates. Two hundred fifty teachers' institutes are held in different counties each year. The state supports seven normals as follows: at Florence, Troy, Jacksonville, Daphne, Alabama Normal at Livingston, Falkville Normal, Agricultural and Mechanical College for negroes at Normal. There are also three private normals, including the two negro normals, one being the famous normal for negroes at Tuskegee. (87.) The property value of Mississippi, compared to the popula- tion, is very low. In the small amount of money MISSISSIPPI spent for each child, Mississippi is surpassed by only one state, South Carolina. Little is spent on buildings. Thirty-four cents per capita, as against the average in the United States of $6.45 is the amount spent. The average 80 value of school houses is $300. There are no cities over twenty- five thousand in population. Of the total number, 88.5% live in the country. In 1910, 56.2% were negroes, in some counties outnumbering three, four and five to one. 10,166 teachers were employed during the same year, with an average salary of $250. The state scale wage was $15 to $75 for teachers, up to $100 for principals. Only holders of first grade certificates received over $30 per month. Examination subjects were limited to the com- mon'branches. The public high schools are mostly of low grade. The school of pedagogy at the university serves as a form of state normal school. (87.) It does not recognize music in any form, however. Nearly one-half of Louisiana is negro. Only Mississippi and South Carolina have a larger colored portion. In LOUISIANA thirty-one of the fifty-nine parishes, the negroes out- number two or more to one, and in two parishes they outnumber six to one, in two others eleven to one, and in one parish there are sixteen negroes to every white man. One-fifth of the population lives in New Orleans, and of the other four-fifths 73% live in rural districts. Besides New Orleans there are only two other cities of over eight thousand. It is a rural and agricultural state. The illiteracy is still very high. Only 62% of the schoplhouses are owned by the parishes, and there is little school equipment. Little is taught beyond the common school branches in any of the elementary schools. The state supports a normal * at Natchitoches, and there are also summer normal schools. The parish of New Orleans main- tains the New Orleans Normal and Training School. The summer normals number ten for white, and four for negro teachers. The high school system is not developed yet, but is part ele- mentary, part secondary. (87.) In all the above normals, music is taught for two years, and is compulsory. The schools have conservatories, and both public school music and professional cultural subjects are taught. Music teaching is compulsory in nine grades, optional in the high school. (389.) Texas employed 21,277 teachers in 1910, 15% being colored. 7% of all were graduates of normals. 36% were rural TEXAS teachers. Uniform examination questions exist through- out the state. State normals are located as follows: The Sam Huston Normal Institute at Huntsville, North Texas State Normal College at Denton, Southwest Texas state Normal School at San Marcos, and West Texas State Normal College at Canyon, all for white students. Prairie View State Normal and Industrial School at Prairie View, is maintained for colored students. The state has also a large annual number of five weeks' summer 81 normals. In 1910, there were seventy- three such normals for white, and forty-three for colored students. These play an important part in the training of teachers. The great size and sparse population of Texas make educa- tional problems difficult. The state is rural and agricultural, over four-fifths living in the country. One-fifth is negro. Much progress has been made in five years, and much remains to be done. (87.) In all the named normals, music is both taught and com- pulsory. (390.) The one at Prairie View has two years of such training, the Tillotson Collegiate and Normal Institute at Austin has one year. (145. d. e.) In 1900, 28% of Arkansas was negro. In thirteen counties they outnumbered, in four counties they outnum- ARKANSAS bered four or more to one. The state is rural and agricultural, 91.5% living in the country. The average school term is 93.9 days, as against 118.2 for the South Central Division, and 154.1 for the United States as a whole. No other states, except North and South Carolina, provide less than one hundred school days. Little is taught but the common branches. The schools are considered among the poorest in the south. The estimated value of all school buildings, private and public, was only $706. In 1906, out of 5,238 school- houses 1,101 were worth less than $100 each, nearly half of this number valued at less than $50 each. The state hires 8,297 teachers, 46% being men, 19% teachers of colored schools. Men Women Average salary, 1st grade $48.12 $40.40 2d " 38.06 34.60 3d 33.24 30.40 Four counties average less than sixty days school, seventy- five average ninety- three days. Since 46% are men, -the quality of service is left to the reader for judgment. The state supports a normal at the state university, and a branch normal for negroes at Pine Bluff. Nothing was done toward establishing a normal for white students until 1907. Where high schools are found, they are supported by local taxation. (87.) It is much to the credit of the state, that, considering the hardships and the recent establishment of adequate normal training, a two year course of study, intended to fit rural teachers to teach music, is placed on the curriculum. The course of study, worked out in 1911 by prominent educators, also includes the study. (39. 1911-12:197,240,360.) So that, although the fruits may not be very apparent as yet, the seeds for future development have been planted. 82 The white population of Oklahoma is increasing more rapidly than the black or Indian races. 80% live in rural OKLAHOMA districts, but the cities are increasing faster than the rural parts. The state has a great agricultural future and possibilities. It has a large endowment for education, while the intellectual character of its white population insures the development of a very important state system. It has graded rural schools, union graded schools, transportation of pupils and consolidation. This state has made greater progress in the latter phase, then some of the older states. In 1911, there were eighty-six such districts. The state employs 10,020 teachers, only 8% being in the colored schools. In each county, a six weeks' summer normal is held, which follows a course. outlined by the state board. Six normals are located at Tahlequali, Durant, Ada, Edmond, Alva and Weatherford. (87.) Music is both compulsory and required in these normals. They have conservatories, and all branches are taught. (391.) Tuition is free in all but instrumental studies. (40. 1912:121.) Considering the financial condition of the state, much can be hoped for along the line of special school studies. CHAPTER IV. NORTH CENTRAL DIVISION. In 1910, Ohio employed 27,841 teachers, of which 8,640 were men. Four state normals are located at Athens, Bowling OHIO Green, Kent, and Oxford. There are city training schools at Akron, Cleveland, Columbus, Dayton and Toledo, besides annual institutes in each county. 44.1% of the popula- tion live in the rural districts. (87.) Music is taught in the normals, but is elective. The course is not standardized, and various requirements are made. The normals have music departments, but not conservatories. (392.) Indiana is 65% rural. The average teaching salary is $500. The law of 1907 requires a high school training, and INDIANA twelve weeks' professional training besides. There are seven hundred thirty high schools in Indiana. The secondary schools have reached a high develop- ment. There is a large normal at Terre Haute, besides annual county institutes, and the Indiana Teachers' Reading Circle. (87.) According to the ruling of the state board of education, music must be taught for twelve weeks in normals. (43. 1910:293.) The Northern Indiana Normal School at Valparaiso has a conservatory of standard instruction in all lines. (107.) 83 Although taught, music study is not made compulsory. (393.) 21.5% of Illinois teachers have attended normals, 7% are graduates. The state supports annual county in- ILLINOIS stitutes in each county. There are five normals with summer sessions, and a city normal at Chicago. (87.) All the normals give courses in music, some with conservatory connected, and thorough courses in all branches of music. School music is an important phase on the curriculum. (44. 1908-10: 63 all ref. 1910-12:535,543,592. 108, 110, 111, 112.) About 60% of Michigan is a rural population. The state employed 15,000 teachers in 1910, half of them being MICHIGAN in the country. 17% were men. Over 30% of the teachers had at least one year professional training. Each county holds an annual teachers' institute. The state has about four hundred well organized high schools. Michigan supports four normals at Ypsilanti, Mt. Pleasant, Marquette, and Kalamazoo. (87.) In all of these, very excellent music courses are to be found. That of Ypsilanti will be described, and the others agree. (394.) There are seven instructors in the department. Thorough courses are offered in kindergarten music, sight singing, history and literature of music, ear training, full courses in harmony, counterpoint and composition, with lessons in voice, piano, organ or violin, if desired. In public school music, methods for all grades, and suitable literature for the same, high school music and conducting form the general plan. A two year supervisors' course is given, which includes preparation in drawing, since the public has demanded a general subject, and drawing seemed the most popular. The normals of this state have frequent opportunity to place students so prepared. A three year course is offered also, to give broader specialization along the supervisors' line in the two subjects. (48, p. 138.) Wisconsin employs 14,729 teachers, 12% of whom are normal graduates. There are nine state normals located at WISCONSIN LaCrosse, Milwaukee, Oshkosh, Platteville, River Falls, Stevens Point, Superior, Whitewater, and Eau Claire. The school system is well organized. 50% live in rural parts. There are two hundred eighty-six high schools, with an enroll- ment of 27,768 pupils. (97.) The reports make mention of the music course in the normals, outlining the work in a few, especially that of St. Francis Normal near Milwaukee. Good courses are given at Oshkosh and at the Platteville Normal. All of these schools emphasize public school music, and all the courses tend toward the teachers' training. There is no evidence of pure conservatory as an accessory to the normal, nor toward any professional training in applied music as an end in itself. (117,118.) 84 Minnesota is richly agricultural and 50% rural. 25% live in St. Paul and Minneapolis. The illiteracy is low. MINNESOTA There are 15,157 teachers, 12% being men, 26% normal graduates. Five normals are located at Winona, Mankato, St. Cloud, Duluth, and Moorhead. Many high schools offer one year of professional training. There were two hundred ten high schools in 1910, with 21,000 pupils. (87.) Music is taught in all the normals, public school music being emphasized. (395.) Iowa is rural and agricultural, 75% living in the country. 16% live in the seventeen cities of over eight thousand. IOWA The illiteracy is 2.3% and with Nebraska, is the lowest in the union. The state has one large, well organized normal for teachers, which turns out over two hundred graduates yearly. A number of colleges assist the state in this preparation. Normal training classes were authorized in the high schools in 1911. (87.) The Iowa State Teachers' College has a strong music depart- ment. In 1910 to X911, thirty-four women took the public school music course, and twenty-eight enrolled in the special teachers' course. The following year, forty took the work, the special teachers' course had fifty-two of both sexes. (56. 1911-12:434.) The State Normal at Cedar Falls has a successful course. Two terms are required. Harmony, history, psychology of music, as well as all the applied branches are taught. There are nine instructors. (121.) The Woodbine Normal lists work in chorus, voice culture, and thorough instruction in instrumental music. (120.) Missouri is 57.5% rural. Kansas City and St. Louis are the only large cities. 4.8% are negroes. The educational MISSOURI conditions are unequal in different parts of the state. In 1911, there were 19,000 teachers, one- fourth being men. There are five normals for white teachers, and one for negroes. St. Louis has an institution for training teachers. The university, as well as all the normals, has summer sessions. In 1910, there were four hundred and nineteen high schools. (57.) All the normals teach music, but it is not compulsory. The course averages from twelve to one hundred forty-four weeks in length. (397.) The one at Kirkville has the equivalent of a strong conservatory in all branches. (124.) The summer session of the university had sixty-two in the music course in 1911. (57. 1911:350.) For the attendance in music for each normal in 1911, the reader is referred to the table for Missouri normals, part I of thesis, page 33. 85 North Dakota is rural and agricultural, 89% living in the country. There are no cities as large as fifteen NORTH DAKOTA thousand. The state has a large educational fund, and conditions for improvement are more favorable than in some states. It has good schools, and sentiment favors education. Expenditure has multiplied four times in eleven years, while the school population has only doubled. High schools are developing very rapidly. The state normals are located at Mayville and Valley City. (87.) As early as 1903, activity in school music is noted in the report. The Valley City Normal had free singing classes, with instruction in applied music. (127.) The State Normal and Industrial School at Ellendale also recognized music on the curriculum in 1908. (126.) South Dakota is an agricultural state, 85% of the people being in the country. 3% are in cities over eight SOUTH DAKOTA thousand in population. 54% are males, 5% Indian. The expenditure for schools is about the average, elementary schools are well graded, and a state course of study is followed. The state employs 6,000 teachers, salaries are an average. State normals are located at Madison, Spearfish and Springfield, with a normal and industrial school at Aberdeen. (87.) Music is taught in all the normals, and is compulsory. The number of weeks' training is not uniform. Public school music and voice are emphasized. The subject will be required in certificates for examination, as soon as the means for training teachers will justify it. (396.) The State Normal School of Madison has this paragraph in the catalog: "Music is recognized as an essential feature of every modern school. The aim is to cultivate intelligent apprecia- tion and thorough knowledge. The course covers appreciation, production and reproduction of music." Piano and voice are taught. No theoretical work is given. (128.) The Spearfish Normal has practically the same work. (129.) Nebraska is rural and agricultural. Almost the entire school funds come from local taxation. There are few large NEBRASKA cities, 75% living in the country. In 1900, the illiteracy was the lowest in the union. Since 1905, the state has been deeply interested in domestic science and agriculture. In 1910, the school enrollment was thirty- two thousand. The high schools have had a rapid growth in ten years. The training of teachers has made great progress. Three state normals are located at Kearney, Wayne and Peru. There are also "junior normals" in eight different cities, which hold sessions of six to eight weeks during the summer. (87.) 86 Music is taught in the normals one hour for one semester. There are no conservatories in connection (399.), nor is the work very extensive. At present, most of the teaching is done by teachers from private conservatories. The awakening is not as yet equal to that in many of the western states. The subject is far from holding a place of equality with other studies. Neither the teaching nor preparation of the teachers justify equal rank, since the preparation is not yet the equivalent of that in other studies. The State Normal at Peru has work in elementary harmony, public school methods, history and chorus for four semesters. Kearney has similar work. (130,131.) The junior normals have work in ear training, elementary harmony, rote singing, fifty lessons being listed in the one at Valentine. (133.) Kansas stands third in illiteracy, being 2.9%. School prop- erty is valued at $18,000,000, the average value of KANSAS school houses being $1,900. 80% teach on second and third grade certificates. 5% of the teachers are normal graduates. Annual institutes are held in each county. The state supports three normals. District, union and county high schools all exist. (87.) Public school music is emphasized in the normals. Institutes have four weeks' training. All certificates require music except the third grade county certificate. (400.) The normal at Emporia has work equivalent to a standard conservatory, including orchestral department and composition. (134.) CHAPTER V. WESTERN DIVISION. Considering the sparse population, educational conditions are very good in Montana. The schools are well MONTANA supplied, and the expenditure per capita is very high. The average value of schoolhouses is about $3,500. More than half the counties have county high schools, and a number of district high schools are maintained. There were 2,250 teachers in 1910, 26% being normal graduates. The average salaries for men were $900, for women $600. A normal is maintained at Dillon. All but high school teachers must attend the annual county teachers' institute. (87.) The normal is required to offer thirty-six weeks' training in music. Public school music is offered, as well as piano and vocal instruction, there being a conservatory in connection. (401. 135.) 87 \ Wyoming employed 1,109 teachers in 1910, of whom 141 were men. Sparse population makes education WYOMING difficult. 29.6% of the population is found in seven cities along the railroad. Outside of the cities, the schools are all one room rural buildings. The high altitude, lack of intensive agriculture, lack of utilized resources, and small population naturally preclude the possibility of a highly developed school system. A high school is now found in each county. In 1905, there were fifteen, with an attendance of seven hundred seventy-one; in 1910 there were twenty-three, with fifty-seven teachers and fourteen hundred forty- two pupils. The university has a normal department for the training of teachers. (87.) Music is taught in the normal, but is not com- pulsory. The subject is required in examination for special cer- tificate only. (402.) Colorado is a mining state. 30% of the population live in cities of over twenty-five thousand. 51.7% are in COLORADO the country. The schools have made remarkable progress re- cently. Most of them are relatively well equipped. 40% of the teachers are rural. 15% of the schools are still sod or log houses, yet the average value of schoolhpuses is $5,216. There were 5,291 teachers in 1908, 85.3% being women. 64% were in graded schools. The salaries average $92.95 for men, $51.57 for women. Colorado maintains the Colorado State Normal School at Greeley, which is large. One private normal is listed, with attend- ance of seventy-seven pupils. There^is also an annual institute in each of the thirteen institute districts. In 1908, there were seventy-seven district high schools, thirteen county high schools, and nine union district high schools. These schools had a teaching force of 427, with an enrollment of 10,321. (87.) As early as 1894, the normal at Greeley aimed at development of the public school music teacher. Rudiments, harmony, sight singing, notation and practice teaching were included, "looking to the time when music would be required in all schools." (136.) In 1902, in this same normal, vocal music was taught as applied to child teaching. (136.) In 1912, the Greeley normal had a music course leading to a special diploma, and license to teach music in the public schools of Colorado. (69. 1911-12:147.) Considering the difficulties under which New Mexico has labored, the schools maintained are very good. NEW MEXICO The seven incorporated towns and thirteen ad- ditional ones have schools in other parts of the country. 85.8% of the people are in the rural parts. There are many Indians and Mexicans. In 1910, there were two Indian missions and twelve government schools. High schools are being developed in the towns and cities. There were eleven four year high schools and seven shorter course schools in 1910, as against six and two in 1900. There are about 1,600 teachers. Three normals are located at Silver City, Las Vegas, and El Rito, the latter being a Spanish- American normal. The attendance and graduates of these schools are small in number. Teachers' institutes of two weeks must be held annually by the county superintendents. (87. 403.) On professional certificates, music may be accepted to equal two units. (70. 1910-12:71.) The normal school at East Las Vegas has a music department of twenty-two students. (70. 1910-12:79.) 17.9% of the population of Arizona are foreign born, of which 59% are Mexicans, 75.6%) white and 1.5% negroes, ARIZONA with 11.5% Indians. Of the total, 58.4% are men. In 1900, 84.1% lived in the country. There was no city, at that time, as large as eight thousand. The illiteracy equalled 19.9% of the white population, 29% of the total. The Mexicans cause the large illiteracy. The average value of schoolhouses increased rapidly in late years, being $3,835 in 1907. The schools are small, only fifteen had as many as eight teachers in 1906. Only five employed fifteen teachers in a school. The schools are graded and relatively well taught. During the last year, there were 645 teachers, 109 were men, 536 women. The average salary was $99.50 for men, and $75.06 for women, with a school term of six and three-fourth months. Two normals are located at Tempe and Flagstaff. The number of graduates of both schools combined has been exceeded two or three times, by the number of normal graduates coming from other states. The first high school was in 1895. The small population makes these schools develop very slowly. In 1908 there were eight. (87.) The Tempe Normal devotes one-ninth of the time to music, the aim being to make " independent readers, and genuine lovers of music." Chorus, voice culture, sight reading and methods of teaching music are the points emphasized. No private lessons are given. The Modern Music Series are required by the Arizona law. (137.) Of the 2,448 teachers in Utah 1,066 are normal graduates; 1,311 had some professional training, while 71 had no UTAH such preparation. There is a state normal in connection with the state university, and a branch state normal in 89 the southern part of the state. The Brigham University at Provo has a teachers' college for training teachers for thirty church high schools in Utah, Idaho and Arizona. Each county must hold an annual teachers' institute of ten days. Men and women receive equal salaries. Educational conditions are good. The population is sparse, half being collected in five cities and a number of small towns. The illiteracy is very low. The people are thrifty and believe in education. There is a uniform course of study. In 1900, there were five high schools, in 1910, there were thirty-three. In 1911, high school laws were passed which will stimulate their further development. (87.) Graduates of the state normal school are qualified to teach music, as it is one of the courses which they take at the school. (404.) Nevada has 500 teachers, few being paid less than $70, while salaries of $100 to $110 are common. 40% of the NEVADA teachers are certified on normal school, college, or state life certificate from other states. The normal is a department of the university at Reno. Recently, normal classes were established in the high schools for the training of rural teachers. There is a marked gain in the number of high schools lately. In 1890, there were seven district high schools; in 1900, nine district high schools and one county high school; in 1910, eleven district and ten county high schools. Practically all of them now have a four year course. Educational conditions are very good. There is a high degree of certification, and the standards are higher than those in some of the eastern states. Salaries are good. (87.) Public school music is taught in the normal throughout the course. A simple examination is required for certificate, and has been for six years. (405.) In 1900, 15.2% of Idaho were foreign born, 57.7% were men, 3.5% were Indian, 1.7% were Chinese. Only 6.2% IDAHO lived in cities of over four thousand population. The state is largely mining and agricultural, and sparsely populated. The average value of school buildings is $3,000. All the schools are being graded and standardized very rapidly. A course of study is used. Special subjects, such as domestic science, manual training and agriculture are entering the schools. There are a few large consolidated schools. There are two normals since 1907, and three summer normals with six weeks' instruction. (87.) Public school music is taught on the curriculum. (406.) As early as 1907, singing, elementary and advanced harmony, history of music, orchestra with private lessons on piano and violin, were found in the Lewiston State Normal. (138.) 90 In 1912, the same normal reports a music specialists' course "as there is a growing demand for it." The department was growing so that it anticipated the possibility of a conservatory for the music department. (74. 1911-12:40,43.) Washington employs 7,170 teachers, 20.7% being men. It supports three normals at Bellingham, Cheney and WASHINGTON Ellensburg, respectively. There are also special teachers' training classes at the state university, and at the state agricultural college. The University of Puget Sound has a normal course also. Over one-third of the people live in Seattle, Tacoma and Spokane. Nearly one-half of the population lives in cities of over eight thousand inhabitants. One-fourth are foreign born. The state has made commendable efforts toward education. The development of high schools has been rapid in ten years. In 1890, there were five; in 1902, three hundred seven, one- third being four year high schools. There is a uniform course of study. (87.) Public school music is taught in all the normals for one semester at least. A conservatory accommodates the music department. (407.) In 1903, the Ellensburg Normal had work in singing, notation, special study of piano and voice, lectures upon music form, ensemble, chorus and quartet work. The. work in piano and voice was a finished product. (140.) In 1904, the public school music courses were free. There were no private teachers. A school orchestra was maintained. (139.) Vocal music has always been required as regular work in the normal at Bellingham, as well as in the other two normals. The former normal has a six year voice course, a special piano teacher, and one also for stringed instruments. The normal music classes are free to all students. (75. 1911- 12:33,41,43.) Oregon employs 4,000 teachers, 750 being in Portland. The state supports one normal at Monmouth. High school OREGON training clases were introduced recently. The future high school teachers must be college graduates. The state is rural and agricultural. Portland has 30.8% of the people. There is only one other city of any size. * 54.4% live in rural districts. In 1910, there were 132,108 school children in 2,265 districts, an average of 527 pupils to a district. Consolida- tion is allowed, but has made little headway. There is a state course of study. In 1910, there were one hundred eighteen high schools, seventy-six being four year schools. (87.) The normal school has thirty-six weeks' training in public school music. Vocal music is also emphasized. (409. 145f.) 91 In 1900, California was 24.7% foreign born, the Japanese and Chinese contributing largely. Agriculture is one of CALIFORNIA the resources, but only 47.6% live in the country. 43.8% live in cities of over eight thousand. There is little illiteracy. In 1900, it was 4.8%, but only 1% among the white race. The schools make an excellent showing in material conditions, the average value of schoolhouses being $10,000 each. The rural schools are well graded and taught by good teachers. The high school buildings are the best of their kind. Good libraries are a feature of the California schools. Nature study is in all, and agriculture in many, manual training and domestic science being in the city schools, music in all. There is little consolidation yet, but excellent high schools. In 1909, one hundred eighty-seven were entitled to state aid. There are forty-nine private high schools and academies. There is a late provision for two and six year high schools. In 1909, there were 10,737 teachers, 13.5% being men. 1,480 were in high schools, where the salary was $110. In the ele- mentary schools the salary was $80. 47% were graduates of a California normal, or one of equal rank. There are five normals located at San Diego, Los Angeles, San Jose, San Francisco and Chico. In 1909, a sixth was put in at Santa Barbara, to train teachers in manual training and domestic science. California credits the work of about sixty normals in the United States and Canada, and about twenty other state in- stitutions in the United States. The two large universities have training schools for high school teachers. (87.) In all the normals, music is taught throughout the course, and is required. It is a department, and not a conservatory. (410.) The normal at Chico has twenty weeks of voice culture, two hours per week for the first term; the second^ term, melody writing for the same period; the third term requires more ad- vanced work, with selection of songs and practice teaching. A special elementary course of twenty weeks, four hours per week, requires talent for leadership. (144.) In 1910, the San Diego normal gave sight singing, ear training, harmony, history and elementary theory. (142.) Footnote Monroe's Cydopedia of Education has been used as a basis for general conditions in this section, since it is one of the best late authorities. DIVISION II. State Universities and Colleges. INTRODUCTION. MUSIC DEPARTMENTS AND CHAIRS OF MUSIC. All the catalogs of state universities and colleges have been consulted which have been available, with a view to making the report as complete as possible. Every state university and all the large eastern colleges have been corresponded with, in regard to the character and extent of the musical work done. While the number of smaller colleges is almost endless in the country as a whole, some pains have been taken to tabulate all that have sent catalogs to the library; for the efforts are ex- tremely gratifying, often outranking the larger and wealthier institutions. A brief history has been added of the music department of all state universities, as well as of all the large universities and colleges, since their past activities are considered very valuable as- an educational study. 95 CHAPTER I. NORTH ATLANTIC DIVISION. MAINE. The State University of Maine has no department of music, TTwivirowrY OP MATNF and gives no instruction in thi s branch UNIVERSITY OF MAINE whatever> (146 . 413>) Bowdoin College has a department with one instructor, the courses being as follows: 1. "Music as an BOWDOIN COLLEGE art/' including the general development, composers' lives, notation and rhythm, with papers on assigned subjects, and intended to serve as a prepara- tion for appreciation of music. Number 2 is a continuation of the same, including musical appreciation and advanced history. One year of elementary harmony is given, followed by one semester of advanced, and one semester of counterpoint. All the above courses are open to sophomores, juniors and seniors. Chorus and orchestra classes are held one meeting per week, with voluntary attendance. The department was established in 1912. (147.) NEW HAMPSHIRE. Dartmouth College established its chair of music in 1910, with one instructor. He was called the DARTMOUTH COLLEGE musical director, and held the bachelor of music degree. One year of harmony was taught. (148. 1901-02:134.) In 1903, this was augmented by one year's study of "music as an art," which consisted of the study of composers, their lives and works. (148. 1903-04:145.) The present courses include the following studies: (1) "Music as an art," the course being practically like the same "named in Bowdoin College. An "Angelus" piano player is used for illustration in this course. A three hour course in harmony is given, and a two hour study of the history of music. All epochs are studied in the history course, with lantern slide illustration. Dickinson's History of Music is combined with lecture and readings. (148. 1912-13:175.) VERMONT. The State University of Vermont has no music department, TTNTTVPRQTTV HT? VT^PMnXTT VERMONT 96 For 1911 to 1912, one member of the faculty was listed as professor of German language, literature and director of music." So that, while not being a formal study in the university, its cultural side is being made use of, probably in chapel exercises. MASSACHUSETTS. Harvard University has a very strong department in its chair of music, and is of long standing. It is a HARVARD UNIVERSITY pioneer in this line of work, and has probably been more influential in the development of music as a serious study in college, than any other one institution in this country. Harvard has served as a model for creating new chairs in music, not only in western in- stitutions, but in some of the eastern colleges. Before President Eliot, there was no regular instruction in the theory of music. The duties of the instructor were simply to direct the choir, and play the organ in chapel. In 1870, for the first time in the history of Harvard, music was represented by a full course of lectures upon the history of music by Mr. Paine. In the same year, the faculty voted to introduce harmony and counterpoint as an elective, at Mr. Paine's suggestion. Canon and fugue, free thematic music, history of music and instru- mentation were added later. In 1873, Mr. Paine became assistant professor; in 1875, he became full professor, introducing, in the meantime, "honors in music. ' Up to 1884, twenty-one took these "honors/' four went abroad, six published compositions, several gained reputation as composers, some took the master's degree, two became musical critics. At this early date, 1894, the aim of the department was: 1st, for the professions of teaching and composing; 2d, for those who devote themselves to musical criticism, literature or the cultivation of a musical taste. All courses counted toward the bachelor's, the master's, or the doctor's degree, the latter being equivalent to the doctor's degree in music in the English uni- versities. The department advocated, at this period, a four year course in practical and theoretical music, since advanced "theoretical work should be combined with a trained musician," and no one should be admitted without some practical playing ability and decided talent. It further added that such a course, with a bachelor of music degree, would set a higher standard for the profession in the country. (150. 1894-95:311.) By 1897, nine graduates had composed fifty-six published pieces of music, some of them being operas, suites for orchestra and strings, among the number being Arthur Foote, well known composer and graduate of 1874, sixteen of the manuscripts being from his pen. (150. 1896-97:461.) 97 In 1895, Mr. Paine was given an assistant. The courses for 1897 to 1898 were harmony, counterpoint, history, canon and fugue, free composition, orchestration, and a course of lectures, supplemented by ten chamber concerts in the Sanders theatre, open to the university and public, the Kneisel quartet, and first ranking artists being presented. (150. 1897-98:389.) By 1900, a new course in musical form had been added, while $75 was subscribed to bring players of orchestral instruments into the class of orchestration, for the purpose of demonstrating the quality of tone and use of the instruments. An orchestrelle had been put in for the use of the history class, by the Aeolian Company of New York. (150. 1900-01:538.) The enrollment almost doubled in. the year 1901 to 1902, while the need for music, books and instruments was felt very keenly, but without the necessary funds. (150. 1901-02:537.) The first notice of harmony and counterpoint as entrance credits came in 1902. There were then eight courses given, the number enrolled almost doubling from the previous year. (150. 1902-03:377. 416.) In 1903, nine courses were offered under four instructors, while approximately fourteen successful graduates had been turned out. (150. 1903-04:621.) In 1905, Prof. Paine, who had been with Harvard from 1869, resigned to devote himself to composition, and his work was continued by three of his pupils. At this time, exchange courses were instituted between the New England Conservatory of music, and legalized by the cor- poration, the scheme having been in use informally for several years. Harmony students had played in the conservatory orchestra, and had their compositions played. This was now approved by the faculty of arts and sciences. This allowed that advanced work done at the conservatory, combined with theory at Harvard, counted as half course. In return, con- servatory students took free certain courses in English literature, modern languages, physics and public speaking at Harvard. (150. 1905-06:285.) The first doctor of philosophy degree in music was given by Harvard in 1905; the same candidate since had a grand opera performed. In 1906, several took master's degrees in music. There were two candidates for the doctor's degree in 1907. A new music hall was also planned to cost $500,000, of which $60,000 was already available. (150. 1906-07:201,288,291,406.) In 1908, eight Harvard graduates specialized in music, and went immediately to Paris, Munich and Berlin for advanced study. Mention was made of frequent letters coming from western universities, which were establishing chairs of music. In 1904, harmony and counterpoint were offered for ad- 4 98 mission, and in five years, or by 1909, ninety-seven offered har- mony, only seventy-nine passing, while fourteen offered counter- point, of which nine passed. (150. 1909-10:308.) By 1911, eleven courses were offered under five instructors. Five students were in the graduate school, some being from the middle west, all working for higher degrees in music. One grad- uate just became member of the Boston Symphony Orchestra, and another of the same orchestra was taking work. One grad- uate became a member of the Metropolitan Opera Company of New York. (150. 1911-12:318.) In 1912, the plans for a new musical building were approved. In October of the same year, the department established a monthly magazine, which represented the first of its kind in any American college or university. Each issue was to include at least one composition by a Harvard student. The editors were from the graduate and undergraduate schools, and assisted by graduate correspondents in New York, Paris and Berlin. In 1911, an opera association was formed, which was active in raising an endowment for the Boston Opera House, for which seats were placed at the disposal of the association. The music clubs, including the glee, mandolin and banjo clubs, took a Christmas trip, going as far west as Omaha. (1912- 13:277,458,586.) The appended table shows the growth of the department: 1871, 11 enrolled. 1901-02, 110 enrolled. 1884, 112. 1902-03, nearly 200. Average of the fifteen years being 50. 1903-04, 250. 1887-8, courses 1 and 2 nearly doubled. 1906-07, 200. 1897-8, harmony 28, counterpoint 9. 1909-10, 210. 1900-01, 60 enrolled. One year not specified, 275 enrolled. The courses are as follows: 1. Harmony and the grammar of music, 3 hours. la. Advanced harmony and harmonic analysis, 2 hours. 2. Counterpoint, 3 hours. 2a. Vocal composition, half course. 3. History of music, from Bach to the present day: lectures, readings and reports with illustrations, 3 hours. 4. Appreciation of music, study of masterpieces from the standpoint of the listener, 3 hours. Laboratory fee of $2.50 to cover cost of scores. 4a. Brahms and Frank, studied with reference to style, structure and content, half course. 46. D'Indy, Faure, Debussy, half course. 5. Canon and fugue, half course. FOR GRADUATES. Instrumentation, 3 hours; six musicians used to illustrate the character- istics of orchestral instruments, fee $10. Preliminary course in composition, devoted to smaller forms, half course. Students in this course are also advised to take French, German and Italian. For those who wish to try for a "degree of distinction in music" or for "honors in music". Advanced work in original composition. For graduate 99 students in composition, or for investigating any historical or literary subject connected with the art of music. Instructors are ready to assist in planning and criticising such work. Harvard has extension work in music. The head professor holds the doctor's degree in music, the first one granted from Harvard, in that study; two teachers hold the bachelor's degree, and one a master's degree. (151. 1913-14:360.) The work given in the Harvard department of music is practically duplicated in Radcliffe, since the listing of the sub- jects show similarity. (152. 1903-04:3,35.) The first mention of music in the Amherst catalog occurs in 1886, an instructor of vocal music being AMHERST COLLEGE included among the list of faculty names. (153. 1886-96 all ref.) This same con- dition existed down to 1895, when a Prof. Bigelow was listed as "instructor of German and music," but with no course given. For the first time, in 1896, Prof. Bigelow offered "a four hour course in harmony, during the winter term, elective and open to juniors and seniors, upon certain conditions." (153. 1896-00 all ref.) In 1900, courses were offered as follows: la. Rudiments of music and elementary harmony. 16. Harmony and history of music. Ic. Harmony continued. (153. 1900-03 all ref.) By 1903, the courses assumed the form of: 1. Elements of music. 2. Chord analysis. 3 and 4. History of music. (153. 1903-07 all ref.) Chorus and orchestration were spoken of for the first time in 1907. (153. 1907-08:75.) As the Amherst courses stand now, they consist of: 1, 2. Theory of music, harmony and counterpoint. 3. 4. The art of music, both courses being elective for sophomores, and are three and two hour courses. 5, 6. The musical dramas of Richard Wagner, as many as time per- mits, the course being also available as a major, in German. It is a two hour course and elective. Pianos and an orchestrelle are at the disposal of the students in those courses. 7, 8. Chorus and orchestra, each meeting one evening. Prof. Bigelow, whose name is identified with the growth of the department, both as German instructor and instructor in music, teaches the classes. During the school year, two large works are given by the combined courses of Amherst and Smith colleges. Two rehearsals are required a week, the same number of absences being allowed as in other courses. Credit for work in chorus or orchestra is as follows: Four semesters of such work is credited as a semester 100 course. Students with good voices may become members of the college choir, for which a renumeration is given. (154.) The study of music exists upon- the curriculum, under the same condition as other subjects, no extra tuition, crediting toward the bachelor's degree, with entrance credit in harmony and counterpoint. The average enrollment is eighty, the aim being cultural. (415.) rr APK- TTNTWRQITTY Clark University has no department of DIVERSITY mugic (416) Smith College opened its doors to the student body in the fall of 1875, with some music taught from the SMITH COLLEGE first. A professorship was established in 1877. (417.) By 1891, the earliest catalogs which were available, a splendidly working department was in evidence. The aim was to provide the best facilities for any branch of theoretical or practical music. Admission to the school of music required a high school education, and the following requirements in music: Notation, including theory of rhythm, tonality, trans- position and modulation, and one of either piano, including knowledge of Czerny, Mendelssohn's songs, the easier Beethoven sonatas, or voice, including mastery of Concone's or Marchesi's vocalises, Mendelssohn's songs, or organ with a knowledge of Stainer's Organ Method and Schneider's Pedal Studies, arranged by N. H. Allen. Academic students could elect music under the same condi- tions as other electives, but must give nine hours' practice per week, inclusive of work in harmony. Three hours of practice were equivalent to one hour of regular recitation. College course of study leading to the bachelor of music degree included one year of harmony, two years of composition, counterpoint, history of music, biography, aesthetics, church music, with an applied study, about on a par with the ordinary private conservatory. In addition, two years of academic studies were required, including one year each of Latin, mathematics, English literature and German. The course required three years. The tuition for a year in any applied study with two weekly lessons was $100, ensemble $40, interpretation in classes $25, harmony and composition in class $20. In addition to this, music students also paid $25 to $100 a year, according to the number of studies, for any work taken in the academy. (155. 1891-92:22.) The intellectual culture derived from music was considered the equivalent of that from other studies, credit being equal to laboratory work. At this early date, there were nine on the faculty, one member holding the A. B. degree. (155. 1891-92: 6,26.) In 1892, there were thirteen teachers in the department, the courses being the same. (155. 1892-93:23,27.) 101 For the first time, 1896, no student was admitted in the department, who was not regularly enrolled as a member of Smith College. (155. 1896-97:41.) The appended studies were listed in the academic depart- ment, the school of music remaining unchanged : 1. History of music, lectures, one hour p^r week. 2. Harmony and rudimental composition in three grades, one hour, $20 fee per year. 3. Higher composition, fugue and orchestration, one hour, $20 fee per year. 4. Criticism and interpretation, lectures one hour. 5. Sacred music, lectures and rehearsals, one hour. 6. Musical literature and repertoires, illustrated lectures, one hour, $10 fee, not elective. (155. 1896-97:33,41.) The number of music courses in the academic department increased from six to eight in the following year, with little other change. (155. 1897-98:37,44,48.) A few changes were made in the courses in 1899, without any great differences, however. (155. 1899-00:88,95.) A new course worthy of mention in 1900, was "the scientific aspects of music," a course upon physics and the mechanics of music, including tonal acoustics, construction of instruments, theory of rhythm, and intended for those who wished knowledge of music apart from the art itself. (155. 1900-01:57.) Another very interesting course was added the following year, namely: "The relation of art, especially of music to character and culture." There were nine teachers by this time, two holding doctor of music degree. (155. 1902-03:62.) In 1903, all the music was thrown into the academic depart- ment, and the school of music abolished as such, placing the study upon the curriculum without any distinction. Twenty full courses were offered, which covered the different phases of composition, musical appreciation, public school music and practical music. The usual applied subjects were offered. (155. 1903-04:55.) A 'cello teacher was added in 1905, with a general strengthen- ing of higher courses, and dropping of elementary studies. (155. 1905-06:62.) By 1906, the study of piano was differentiated into separate periods, schools or forms as the case might be. (155. 1906-07:65.) Voice was treated in the same manner, the following year. A course in chamber music was added with required reading, and combined with the study of practical music. (155. 1908- 09:72.) For the first time, in 1911, the requirements in music as entrance credit were printed in the catalog, in place of the usual announcement, that such might be obtained upon request of the registrar. One year of systematic harmony could be offered, or 102 half as much harmony and some ability in voice or on somei instrument. Piano required the easier sonatas of Haydn and Mozart. The same general knowledge was required if othen applied subjects were offered. No certificates of any music school were accepted, an examination being required. Fifteen teachers were employed upon the force. (155. 1911-12:43,83.) The present requirements of music as entrance credit are similar to those given in 1911, just preceding. The faculty consists of seventeen teachers, four hoMing a bachelor's degree, one a master's degree. Twelve theoretical courses are given, in applied music, piano, organ, violin, violon- cello and voice are taught. The usual ensemble, sight singing and music classes for strings are given. For college credit, the work must be advanced equivalent to entrance requirements in music (155. 1914-15:39,86.) One short course is given for work in public school music under a specialist. The department keeps pace with the general enrollment, being about one-fourth, or four hundred in music courses, as against sixteen hundred fifty, the total registration for this year. (417.) A striking feature of the enrollment of students is that in earlier years, special music students comprised half or more of] the students taking music. By 1906, only four special music students remained, the rest being regular academic students. The specials disappeared as soon as only regularly registered college students were admitted to the department. The increase of academic students in the music classes from 1891 to 1914 was from seventy-five to four hundred. As early as 1889, Wellesley College had twelve teachers oni the faculty, and offered work in tonic WELLESLEY COLLEGE sol fa, sight singing and harmony, with lessons in voice, piano, violin and guitar, there being thirty-eight music rooms, with forty-three pianos in use. In the classical and scientific courses, musical history, theory and composition were listed, and open to juniors and seniors. Completion of either of the following courses gave a diploma from the school of music: 1st course 2d course 3d course Piano 5 years Organ 5 years Voice 5 years Harmony 2 Harmony 2 Harmony 2 History History History Modern language . 3 Modern language . 3 Modern language. 3 (Italian obligatory) Bible study 4 Bible study 4 Bible study 4 The scientific and music courses combined, was a five year course, and led to a college degree. Courses could be selected from applied music, by special permission. All students must meet entrance requirements, but harmony was not yet required. 103 There were five graduates from the five year course in 1890. (161. 1889:90 all ref.) By 1896, students in the regular music course were required to take two academic studies, including a Bible course. (161. 1896-97:64.) A bachelor of music course had been laid out as early as 1889. (161. 1889-90:38.) In 1903, those not candidates for a degree, but specialists in music, were required to pass admission requirements, and academic work must be carried. In general, the course required four years. (161. 1903-04:107.) At the present time, the courses, include musical theory, foundation principles, harmony, interpretation, applied harmony, development of the art of music, applied history, counterpoint, applied counterpoint, musical form, applied form, history of music, the symphony from Haydn to the present, free composition and Beethoven and Wagner. A fee of $5 is attached to applied harmony and applied history, and $2.50 to applied form and applied counterpoint. Courses in theory and history count toward the bachelor's degree, without previous knowledge. Practical lessons are offered in pianoforte, organ, violin and voice, in order to encourage students to acquire a better tech- nique in theoretical work. Applied music is elective, and does not count toward a degree. Candidates for the bachelor's degree, who propose to spend only four years in college, may take applied music, by consent of the dean of the college and department of music. Such students must take theory. Five years are required, to obtain both the college degree and the certificate from the music department. Music specials are required to take from six to nine hours academic work, including musical theory. If candidates for the music certificate, modern languages must be included in the academic study. Upon entering, the student must have acquired the fundamental technique of the chosen specialty. Tuition for the college year in applied study is $100. The department has eight instructors, one holding a doctor of music degree, two having a master's degree and one a bachelor's degree. (161. 1914-15:130,156.) Tufts College established a chair of music in 1895. It offers opportunity to gain a knowledge of musical TUFTS COLLEGE history, and of the principles of composition, as a basis for practical work in music or in musical criticism. The subjects studied are elements of theory, harmony, general history of music and musical appreciation, the courses being complete throughout. The college gives both entrance credit and credit toward a degree, and music ranks with other subjects upon the curriculum. 104 One instructor is employed, and the enrollment varies from twenty to fifty students, in different years. No provision is made for training of public school music teachers or supervisors. A prominent feature is a careful and systematic use of four automatic players, and over a thousand rolls, which are a splendid collection of composition. The college has out a sixteen page booklet of these rolls used in the Tufts College music room, with a nicety of tabulation which makes them very accessible, even to the students. Several musical organizations form a strong feature of the musical college life, and are an integral part of the department. (418. 160, p. 140. 1907. 1913.) As early as 1889, Mt. Holyoke College had elocution or vocal music offered through three years of the MT. HOLYOKE COLLEGE course, one hour a week as an elective. All students had regular lessons in choral classes. Private instruction was available in voice or piano, at $15 for twenty lessons. (158. 1889-90:5,28,38.) The following year, music could be elected in the junior year, after passing an examination on the rudiments, requiring about one year of previous study. A musical elective required piano, and with harmony included six hours' practice. Three practice hours were the equivalent of one hour of recitation. Grade A piano comprised Cramer 1st book, Bach Two Part Inventions, and other material of the same grade. Grade B included Czerny Etudes Op. 740, Cramer 2d and 3d books, Heller Art of Phrasing, Bach Three Part Inventions. A footnote read to the effect that the department intended to put in a three year music course similar to that of schools of music, as soon as facilities permitted. (158. 1890-91:31.) A department of music was established in 1891, as a necessity for "students who are seeking a well rounded education." The aim was to furnish the best facilities for the study of piano, organ, violin and voice, with theory and interpretation, either as a special course for those not connected, or as an elective for college students. Outside applicants had to be high school graduates. The examination in practical music had the following grade of difficulty: Piano required Czerny, Cramer, Mendels- sohn's songs, and Haydn and Mozart's sonatas. Organ required Stainer's Organ Manual. Voice students had to show mastery of Marchesi's Vocalises, simple Schubert and Franz songs. Violin required C. N. Allen's Etude Album. After the first year, students could elect any branch of music for which they were qualified. The tuition in any applied branch for the year, one hour a week was $50; harmony or theory in classes was $15. (158. 1891-92:18.) The department employed four teachers by 1893. (158. 105 1893-94:19,42.) A new head professor took up the work the following year, (158. 1894-95:20.), resulting in more stress upon sight singing and voice training in classes. (158. 1895- 96:25.) Entrance examination in music is spoken of in 1897, while a distinction is made between academic students and special music students. The former were allowed to elect music without previous preparation; the latter were required to take the examination as given in 1891 requirements. Regular college students were obliged to take one year of harmony during the academic course, if music were elected. The classes in voice training and sight reading aimed to prepare pupils to teach music in the public schools. (158. 1897- 98:12,46.) In 1900, only regular academic students were admitted in the music department, thereby doing away with the non-academic music specialist. The courses of instruction included harmony, counterpoint, history of music and biography. (158. 1900-01:54.) From 1903, those who took the full course in music were expected to give a program. (158. 1903-04:75.) The new courses for 1907 were appreciation one hour for the year, and pedagogy for public school work, two hours for one year. (158. 1907-08:68.) Eight hours of practical music could be counted toward a degree in 1908, if it included two hours' harmony. A teachers' course for supervisors and chorus conducting was new. One unit was specified as the allowed entrance credit for music. The total college enrollment had increased from two hundred sixty-seven in 1890, to seven hundred twenty in 1906, with four teachers offering the work in music. Tuition remained stationary at all times. (158. 1908-09:8,58,80.) Boston University gave the first work in music in 1904. A two hour course of harmony was given through a year. A lecture BOSTON UNIVERSITY course was given also upon history of music, illustrated by vocal and instrumental selections, one hour for one semester. (156. 1904:66.) By 1910, the following courses were given: Appreciation of music, analyt- ical study of masterpieces, history of music, harmony and counterpoint five courses in all. Harmony and counterpoint were spoken of as being allowed ior college entrance. (156. 1910:54,94.) In 1912, advanced harmony and a course in theory and practice of teaching music in public schools were added, other courses remaining the same. No provision is made for practical music, nor is it recognized in entrance credit up to the year of 1913. Two teachers are employed. (156. 1912-13:37,68.) Williams College has an instructor listed as director of WILLIAMS COLLEGE music, but with no assigned classes in music. The sup- position is that his duty consists of acting as chapel organist. (157.) Phillips Academy at Andover, one of the smaller schools, has one in- structor for music and Bible study. Opportunity is PHILLIPS ACADEMY given for study in piano or organ. Harmony is taught also. Those who wish to present music for admission, 106 may have a class formed in harmony, and counterpoint, if enough wish the work. (159. 1913-14:45.) RHODE ISLAND. A music department was put in Brown University in 1908, and consisted of a course called the "evolu- BROWN UNIVERSITY tion of modern music." Lectures, assigned readings and papers constituted the work. The course was intended to give appreciation and interpretation, with a minimum technique. It was a three hour course for sophomores, juniors and seniors. No knowledge of music was necessary. The women's college of Brown University had the same course. (162. 1908-09:141,235.) By 1912, the curriculum had expanded to an elementary harmony and an advanced harmony course, and a three hour opera course, open to all but freshmen. No previous knowledge was necessary in the last course. (162. 1912-13:133,232.) "Evolution of modern music/' was included in 1913, with lectures illustrated on the piano, assigned readings and papers, designed to give appreciation and interpretation, with the least technical detail. No previous knowledge was necessary, and the course was elective for all but freshmen. (162. 1913-14 :124,224.) By correspondence, comes the information that "for quite a few years the university has had no regular department in music, but has offered each year one or two courses conducted by in- structors holding positions in other institutions or in the city." During the present year, one of the church organists is conducting a course in appreciation. Mr. Macdougal gives also an extension course upon "the song and song composers," dealing with Great Britain and Germany. The same credit is given toward a degree as for other studies. (420. 162a.) RHODE ISLAND COLLEGE The Rhode Island State College has no department of music. (421.) CONNECTICUT. A chair of music was founded in Yale University in 1894. In five years the enrollment reached a hundred. YALE UNIVERSITY Courses were offered in harmony, counter- point, composition, history of music, in- strumentation and free composition. During the year, a graduat- ing student published a male chorus for orchestra. Six lectures were given the same year. Attention was drawn to the crediting of practical music "if it is to be encouraged in undergraduates." Parker, the well known composer, was chosen head professor. (163. 1899-00:71.) 107 During 1900, two programs of original compositions were given The faculty also granted credit for practical work done fn dass room. (163. 1900-01:98.) Two students, candidates for bachelor of music degree, produced original composition. ' (16 In 1902 " there 'were forty-three students in applied music. The completion of the hall gave added resources A large choral force was to be organized from the city and school, and it was further suggested that a large male chorus be formed. (163. * An original fugue for organ, as thesis for the bachelor of music degree, came out in 1903. (163. 1903-04:171.) The following year, a new course m advanced orchestration and conducting was outlined. Demands began to come in to the college from western universities for teachers of music, with salaries ranging from $1000 to $3,500. (163. 1904-05:171.) The year 1905 was marked by a desire "to encourage teachers of music in public schools." A hope was expressed of being able, very soon, to cooperate with the Eastern Educational Music Conference and the New England W|S* k ?2if^ W * 1 of which were working along this line. (163. 1905-06:163.) The following table shows the enrollment for each year: 1892-93 . . . 1893-94 . . . 1894-95 . . . 1895-96 . . . 1896-97 . . . 1897-98 . . . ...30 ...30 ...25 ...53 ...76 ...70 1898-99 1899-00 1900-01 1901-02 1902-03 .76 1903-04 . . ...171 1908-09 . . . . 170 '76 1904-05. . . .168 1909-10. . ..159 .126 1905-06. . ...175 1910-11. . . . . 172 75 1906-07 . . . ..165 1911-12. . ..173 .110 1907-08 . . . ..199 1912-13. . . . . 164 The above enrollment was distributed as follows in the ditlerent colle^ res: Graduates Academic undergraduates Regular or specials Other departments 1900-01 9 59 59 40 1Q09 AO 1 61 'iO JL7vu UO 7Q 1903-04 1904-05 1905-06 1906-07 1907-08 1908-09 . . . .3 ...7 ...7 ...3 2 2 95 70 74 56 95 58 1 7 91 88 95 91 99 '9 6 11 11 11 1909-10 1910-11 1911-12 2 ..' .5 2 59 66 68 89 94 96 7 7 1912-13. . ..1 52 106 108 Distribution in the different studies: Strict History Harmony Counterpoint composition of music 1899-00.. 34 16 12 51 1900-01 32 16 13 60 1902-03 18 14 9 55 1903-04 51 12 16 74 1904-05 42 30 8 70 1905-06 38 28 19 10 1906-07 45 23 20 47 1907-08 30 15 15 77 1908-09 41 27 14 34 1909-10 44 25 15 52 1910-11 ..46 22 16 55 1911-12 ....49 23 17 50 1912-13 ...49 28 15 46 Free Advanced Instrumentation composition orchestration 1899-00 ...10 11 1900-01 ... 7 7 1902-03 ...6 6 1903-04 ... 8 7 1904-05 . . .10 10 1905-06 14 72 1906-07 ..11 7 1907-08 .. 9 7 1908-09 . 6 8 < 2 1909-10 ...8 10 1910-11 ...16 11 1911-12 ...17 11 1912-13 . . ..13 11 It will be noted that the enrollment increased very rapidly up to 1900, after 1902 remaining quite constant. The great uniformity of registration in all the courses, from the beginning down to the present is very unusual. Mention should be made of the large number of symphony concerts and others, all of first rank, and under the auspices of the university, which are given yearly. The appended table gives the enrollment in the applied courses: Total Piano Organ Violin 'Gello Voice Ensemble 1903-04 87 60 17 12 1904-05.. ..115 60 25 13 5 14 1905-06 118 59 27 14 4 13 12 1906-07 112 53 25 15 4 21 8 1907-08 116 57 27 15 6 23 14 1908-09 126 64 29 11 4 31 12 1909-10 110 58 21 13 4 19 12 1910-11 122 60 23 13 6 23 15 1911-12.. ..130 60 21 11 9 32 16 1912-13.. ..125 72 43 13 8 23 15 (163 all ref.) The branches of applied music show more popularity and more increase than those in the theoretical department. 109 Wesleyan University in Connecticut has as yet only WESLEYAN UNIVERSITY musical organizations, no attempt being made at formal class work. (164. 1913-14:111.) TRINITY COLLEGE Trinity College at Hartford also makes no recognition of the subject. (165. 1908.) NEW YORK. The department of music in Columbia University was estab- lished in 1896, by the aid of the Robert COLUMBIA UNIVERSITY Center fund for instruction in music. It was organized by Columbia's first pro- fessor of music, Edward MacDowell, the American composer. In his report, President Butler explained that it was no part of the plan of the school to give practical instruction in the fine arts, but that the university should give the historical, philosophical and theoretical instruction, leaving to other teachers and organ- izations, the practical training and apprenticeship, which is a necessary part of all art education. (166. 1754-1904:256.) In outlining the work, the courses naturally took two divisions: 1st, technic of musical composition; 2d, general musical culture. The courses given were general musical culture, practically a history of music, lecture course in theory, harmony, etc., open to all, a more advanced course in counterpoint, canon, choral fuguration and fugue, the most advanced being free composition and symphonic form. (167. 1896-97:110.) An assistant, a college graduate, was elected in 1898. A course in harmonic dictation and a musical seminar were added, no fee in either study. (167. 1897-98:137.) A conductor was appointed the next year, and four divisions made in the department: 1st, technic of musical composition; 2d, general musical culture; 3d, musical dictation; 4th, practical training in orchestral and choral music. A university chorus and orchestra were organized. (167. 1899-00:136.) The following tabulation shows the growth in four years: 1896-97 1897-98 1898-99 1899-00 Number of teachers 1 1 2 3 Number of courses 3 4 7 9 Attendance 37 47 127 247 Volumes in library, approximately .... 250 350 500 (169. 1899-00:291.) The increase in attendance is very marked, as well as the increase in number of courses. The figures demonstrate the fact that the need for such a department was felt, even in a city like New York, where the highest possibility in every art line may be realized. In 1903, a new course was put in on analysis of musical sound. With the exception of chorus, all the courses were open to both sexes. (167. 1902-03:147.) 110 For 1904, eight courses were offered in extension music by five instructors. These were given by the regular teachers out of school hours, for those who were unable to attend regular classes. Part of them credited toward a degree, some were merely lecture work and allowed no credit. By 1905, all courses counted toward the bachelor of arts degree, while only counterpoint, orchestration and composition counted toward the two higher college degrees. (167. 1904-05: 148,459.) Mr. MacDowell withdrew in 1903, and a new head took his place in 1904. The Quarterly made the following statement, which shows the expectation of the department for future development: "Since its separation from the faculty of philosophy, the chair of music has been without special faculty relationship, awaiting the formation of a faculty of fine arts. When this is done, it will be possible for the department to develop a systematic school of music, with approximate entrance requirements, curriculum and degree. The correlation should be literature, psychology, and physics, with bachelor of music degree." (169. 1903-04:437.) In 1904, Columbia sent a delegate to two conferences at Smith College, and one at Boston, for the purpose of taking action in regard to college entrance credit in music. In May, a program of students' compositions was given. (169. 1904-05:378.) By 1905, the courses reshaped themselves into fifteen well defined branches, which represented general courses as a basis, and leading up through theoretical work to higher composition, with chorus, orchestral training and dictation as a part of the department. In extension teaching, ten courses were offered for credit, and fourteen lecture courses without credit. (167. 1905-06:122,437.) The event of the year 1905, was the creation of a school of music leading to the bachelor of music degree, with higher degrees and a certificate of proficiency for non-matriculated students. A feature of the year also, was a series of twenty-three lectures upon "the function and meaning of music." A member of the faculty spoke on "college entrance" at the National Educational Association, with the intention of con- tinuing next session upon "musical instruction in colleges and secondary schools." A number of joint meetings were held with the Eastern Educational Music Conference, and New England Educational League, which prepared the statement of college entrance requirements adopted by the college entrance examina- tion board. (169. 1905-06:311.) Three candidates enrolled for the bachelor of music degree in 1906. (169. 1906-07:83.) There were seven the following year, the general registration remaining about the same. Ill The institution was in advisory relations during the year with a dozen colleges in all sections of the country in connection with the establishment or development of collegiate chairs of music. (169. 1907-08:386.) In 1910, the first degrees in music were given to two can- didates. The history and theory classes enrolled one hundred seventy-six students, with a number more in chorus and orchestra. (169. 1909-10:347.) The year 1912 enrolled one hundred forty-seven, with a marked increase from the college student body, especially in harmony. (169. 1912-13:147.) During 1914 and 1915, an elementary and an advanced course in history, counterpoint, composition and orchestration, university orchestra and chorus are the eight courses offered by the Columbia chair of music. (169. 1914-15:55.) The several courses may be counted toward any of the follow- ing degrees: Bachelor of music, under the faculty of fine arts; bachelor of arts, and bachelor of science, under Columbia College or Barnard College; master of arts, under the faculties of fine arts and of philosophy. A course leading to a certificate of proficiency has been established. Requirements for admission to the course leading to the degree of bachelor of music are, (1) the completion of sixty- two points or two years' undergraduate study in Columbia, Barnard, or the equivalent elsewhere, (2) the ability to play Bach's Two- Part Inventions on the pianoforte, or pieces of like difficulty on string or wind instruments, (3) an accurate ear, and a knowledge of the rudiments of music. The requirements for admission to the course for certificate of proficiency in music, are the amount of credits equal to ten units from the following subjects, English and one other language being required: English 3 units Musical appreciation 1 or 2 units Elementary Greek 3 Tone thinking and dictation 1 Elementary Latin 2 Musical performance 2 Elementary French 2 Elementary mathematics 3 Elementary German 2 Elementary history 2 Elementary Italian 2 Elementary physics 1 Harmony 1 Advanced mathematics 1 Advanced history 1 unit. In 1915, the number of units for entrance will be increased to fourteen and one-half. The candidate for a bachelor of music degree must pursue courses amounting to seventy-five points as follows: a. (Required.) All courses in composition and criticism offered by the school of music, and a year of each of language, literature, history and the fine arts, other than music. b. (Elective.) Other courses, especially musical performance, aesthetics, physics or psychology. 112 In addition, the candidate must submit a satisfactory original composition for orchestra, or with orchestral accompaniment, and an essay on a musical subject. The candidate for the certificate of proficiency in music must fulfill the same requirements, except that only fifty points are required. The same requirements are made in regard to the original composition and the essay, as for the bachelor of music degree. (169. 1913-14:27.) A feature of Columbia is the affiliation of Teachers' College. It is neither a normal nor a university TEACHERS' COLLEGE department of pedagogy, but a professional school for teachers. The school was founded in order that education might be treated as a science. The educational administration is carried on by departments, each under a director, with a full corps of instructors. (170. 1900-01:30. 169. 1898-99:342.) In 1903, Teachers' College had an adjunct professor in music and courses were worked out looking to the needs of the public school teacher in music, entirely in keeping with the character of the institution. (167. 1903-04:152.) At present, a major may be taken in music leading to the degree of bachelor of science in practical arts, or in music educa- tion leading to the degree of bachelor of science in education, and a diploma in teaching or supervision. In either case, one hundred twenty-four points are required for the bachelor's degree. Forty points are required in English, French, German, history and hygiene in the general courses. The technical group requires the several courses in dictation, sight singing, acoustics, history of music, musical literature and appreciation, and elementary chorus singing and conducting, with applied branches in voice, piano, violin or organ to the amount of forty-five points, leaving thirty-nine electives. The special fees for practical music are $25 each in piano or voice, $50 in organ, and $35 in violin or violoncello for a semester. Arrangements are made whereby credit is given for instruction under approved private teachers of the city, or in other New York institutions. (170. 1913-14:101.) The courses are in general of a character to meet the needs of students with less musical preparation, and not for the trained musician or the experienced supervisor. The applied branches are more elementary, advanced students usually registering with New York artists, for which credit may be obtained, if desired. In passing from Columbia to Cornell University, the first musical courses on the curriculum were CORNELL UNIVERSITY in 1896. One in voice production and vocalization, and another in anthem sing- ing and hymnology, both of them taught by teachers from the city conservatory. The first was open to all students, whether 113 musically trained or not; the second could be taken by those who were able to read fairly well. (171. 1896-97:99.) In 1898, the only course was one in vocal music, the main purpose of which was to furnish material for the college choir of Sage Chapel. Attendance was also required at weekly vesper services, the course giving two hours credit. (171. 1898-99:113.) It might be stated that the sole purpose of all the earlier years of musical instruction, was for the sake of this college choir. The following year an advanced chorus was added, which, with the conservatory chorus, sang at the vesper services. An orchestra was organized with two hours credit. (171. 1899-00: 117.) The only change in 1900 was that the orchestra assisted at vesper services, while provision was made to give history of music if desired. (171. 1900-01:117.) By 1906, the courses tended definitely "to provide means for general musical culture and appreciation rather than technical or theoretical training." (171. 1908-09:157.) A course in harmony was added in 1907. The following year, besides four choruses, an elementary, intermediate choral and advanced choral, courses in harmony, advanced harmony and composition were given, with two hours' credit each. This gave full chorus training, theoretical work and orchestral practice. (171. 1914-15:34.) At present, in addition to the above courses, appreciation of music appears on the curriculum. The strength of summer work in music at Cornell, and the educational tendency, may be seen in the following courses, which were given in the session of 1914, for teachers and super- visors of music, the subjects being treated exhaustively and professionally. Full courses in sight reading, dictation, material and methods, rudiments, melody, high and normal school music, practice teaching, history and current events, chorus, vocal training, composition and musical appreciation. As will be seen, no phase is omitted, and the methods are educational and purely pedagog- ical, as the pamphlet shows. The teaching was done by thirteen instructors from the following institutions and cities: (172. 1914:6.) The director of music in the public schools of Ithaca, voice teacher from New York City, teacher of piano and theory from Boston, director of music from the public schools of Manchester, New Hampshire, musical instructor in the normal college of New York City, director of music from Penn Charter School, Philadelphia, professor of music from Colgate University, Hamil- ton, New York, organist and teacher of theory, Cornell, besides a certificated teacher from the Royal Albert Hall School, London, for physical education, and one from the London County Council, 114 also physical education teacher. (172. 1914:3.) The entire faculty were experienced teachers holding important positions. Two hundred twenty-five supervisors attended the above summer session, the average winter enrollment being about two hundred seventy-five. During the college year, three instructors are employed, while the aim is to make music an aid to liberal culture. (424.) Professor Hollis Dann was made professor of music in Cornell in 1906, was assistant before that year, and has been instru- mental in bringing the department to its present strength and large attendance. Its growth began with his leadership. (171. 1905-06:138. 1907-08:149.) The university gives entrance credit, credit toward a degree, and the subject ranks with other school studies. No extra tuition is required of the students. (424.) The summer session now includes graduate courses which have been put in to meet the demand of graduates who return for further study. The limit in numbers was practically reached in 1913, during the summer session. (172. 1914:5.) The earliest available catalog of Vassar College, 1872, shows eight out of the forty-two teachers as in- VASSAR COLLEGE structors in the music department. So that even at this early date, the work was already strongly established. The instruction consisted of piano, organ, voice lessons and choral training. Theory included thorough-bass and a course in composition, if desired, while lectures were given on the history of music. The total school -registration was four hundred eleven students. (177. 1872-73:5,23.) The tuition for private piano or organ lessons, for one year, including two weekly lessons and one practice period was $80. Voice study was $90, while lessons in thorough-bass or composi- tion were $60. (177. 1873-74:23,28.) Vassar ranks among the first of the institutions in this country to place music upon a par, educationally, with other studies. The following extract, quoted from the 1874 catalog, shows this fact very clearly: "Extra collegiate or art studies. "Students will usually be able to take one art study in addition to the regular course, and are strongly advised to do so when they can, as a valuable element of general culture. In the junior or senior years, after completion of the more disciplinary studies, marked proficiency in music or the arts of design, may, at the discretion of the faculty, be accepted as an equivalent for some one of the prescribed studies in literature or science." (177. 1874-75:23.) 115 To foster this idea still more, an opportunity was offered every student in the regular course to acquire the elements of vocal music in class, free. If, however, a talented student availed lerself of the opportunity of substituting music for a regular branch, harmony was required. (177. 1875-76:16,23.) A striking feature, traceable through many years, is a set imit of forty minutes a day for practice, with the appended explanation that ''there was a prevailing impression that little would be done of high musical culture under such restricted practice, but experience proves the contrary. A sound method, igid economy of effort, and the disciplinary influence of the college, combine to make the results satisfactory, and goes far o prove whether a high aesthetic culture may be combined with ntellectual discipline in the education of women/' (177. 1875- 1:16,23.) In the fall of 1877, the department opened up as a school of pecial instruction under the general supervision of the trustees )f the college. Frederick Louis Ritter was appointed director. ?he courses were complete in the theoretical branches, and ncluded organ, piano and voice. The fees for organ, piano and voice were $100, for chorus $10, ,nd for theoretical studies in class $50 a year. (177. 1877-78:38.) The full course required three years, but those who possessed ome skill upon entering could finish in less time. (177. 1879- 0:35.) In 1881, there were seven teachers, one holding a bachelor's legree. (177. 1881-82:5.) The following year, violin was ,dded to the course. (177. 1882-83:37.) By 1B90, requirements had become more exacting, harmony nd counterpoint obligatory for all special students. (177. 890-91:60.). Dr. Ritter, the head professor, died the following year, tecessitating a new instructor and the result of entire change of onditions. (177. 1891-92.) The special schools of music and rt were abolished, and these departments were placed on a level vith other collegiate work, as counting toward a degree. The pplied arts existed also, but with extra fees, and not counting oward a degree. The courses were open to regular and special students alike, ut no one could enter who was not prepared to meet the fresh- nan requirements. The purpose of the trustees was to recognize tie true place of these studies in higher education. It was their ntention "to provide the fullest facilities for those able to meet he requirements." (177. 1892-93:28.) A footnote reads that the department had been changed so 3cently as to render some of the work in a formative stage, but that it was the intention of the school to extend the time allotted to the study of higher contrapuntal forms as soon as possible. (177. 1892-93:57.) 116 An addition to the course was made in 1894, history of dramatic music, and history of sacred music, besides the usual history course. Otherwise the studies were about the same. (177. 1894-95:69.) The following year the schedule consisted of the structure of music, applied harmony at the keyboard, counterpoint, applied form or free composition, history of music, historical form, inter- pretation, choral club and elementary class instruction in vocal music, the latter course not counting toward a degree. The customary applied forms were taught. (177. 1895-96:58.) Of the five instructors in 1900, one held a doctor of philosophy degree and two had taken the bachelor of arts degree. (177. 1900-01:57.) A symphony orchestra was spoken of in 1904, while the courses were much the same as before. (177. 1904-05:40.) By 1900, there were seven teachers upon the musical faculty. (177. 1908-09:51.) The enrollment for the years in which the music students were recorded separately, was as follows: Music Music enrollment Total enrollment Total 1877-78 10 347 1885-86.. ..32 292 1878-79 17 306 1886-87.. ..44 312 1879-80 27 303 1887-88.. ..38 294 1880-81 27 284 1888-89... ..52 310 1881-82 29 297 1889-90 44 321 1882-83 34 314 1890-91 29 325 1883-84 40 300 1891-92 50 398 1884-85 32 272 It will be noticed that, while the college attendance remained fairly constant, that of the musical courses increased to five times as many as in 1877. After the department was abolished and placed on an academic basis, no separate records were kept for enrollment of music students. As early as 1899, Syracuse University had a flourishing course of music under the department of SYRACUSE UNIVERSITY fine arts. Systematic and progressive instruction was given in theory, history and practice of music. The piano was adopted as the basis of study, and was required of regular students of music, at least in the freshman year, while one year of vocal study was required of all graduates in music. The necessary collegiate branches were physics, elocution, rhetoric, English literature, French, German, Italian, ancient, mediaeval and modern history, science of aesthetics and general history of fine arts. For admission, the student must have pursued English grammar, geography, arithmetic, American history and physics, with satisfactory proficiency. In music, the advancement had to be the equivalent of three years of systematic study and practice. 117 The course in piano had provision for a three year preparatory and a four year collegiate course. The Virgil practice clavier was used in developing technic. Violin, organ and voice courses were given also. Theory included harmony, counterpoint and musical form in classes, with history of music, chorus, orchestra and ensemble as well. Piano instruction was given in small classes. Four instructors were employed. (173. 1899-00:125.) Except for gradual growth, there was little change up to 1906, when the department had grown to eleven teachers. A course in musical composition had been added, as well as a normal course for teachers and supervisors in public, high and normal schools. The latter three year course consisted of the following studies : 1st year 2d year 3d year Notation History of music Musical form Terminology Ear training Chorus Ear training Sight singing Acoustics Sight singing Chorus Psychology Harmony Harmony Pedagogy Voice History of education Voice Piano Voice Piano Piano Practice (173. 1900-01:122. 1901-02:132. 1906-07:136.) In 1907, the normal course was placed in the teachers' college of education, and included the following studies: 1st year 2d year 3d year Harmony Harmony Harmony Ear training Ear training Musical form Sight reading Sight reading Ear training Voice Voice Voice Piano Piano Piano English History of music History of music Psychology Pedagogy Observation and practice Sociology Electives: Italian, Electives: Italian, French, German or German, French, drawing. Spanish or drawing. In 1907, the normal course was placed in the teachers' college of education, and included the following studies: Chorus work was based upon the "Modern," "Harmonic" and "New Educational" methods of public, high and normal school music. Those who completed a four year course received bachelor of pedagogy in music. The added fourth year included pedagogy, English composition, aesthetics, musical appreciation, voice, piano, and modern language. There was also a four year course in any applied branch, and a four year course in theory of music and composition. The regular music course, combined with the normal could usually be completed in five years. The tuition for applied music in classes of three, one lesson a week for a year was $33. The same with two lessons a week was $50. Theory in classes of three, two lessons a week, was $18. 118 Two lessons in organ was $60 for the year. (173. 1907-08 all ref.) In 1913, the methods course was based on principles similar to "those of Crane Institute. Four systems were studied, "The Harmonic," "The Modern," "The Educational" and "The American." Practice 'teaching was done in the high school. Bachelor of pedagogy in music required work in English, elocution, acoustics, modern language, history, logic, psychology, history of education, philosophy of education, neurology, educa- tional psychology, school organization and management and general methodology. (173. 1913:161,292.) With the development of the normal course, Syracuse Uni- versity now has complete courses in applied music, theoretical work, with unusually strong specialization in the normal or training department for teachers. The University of Rochester places little emphasis upon the subject. A member of the faculty UNIVERSITY OF ROCHESTER is acting instructor for men's glee club. (174. 1910-11:10. 1911-12.) The College of the City of New York gives two courses. (1) History and appreciation of music, COLLEGE OF THE which consists of lectures with musical CITY OF NEW YORK illustrations, recitations and prepared papers. No previous knowledge is neces- sary. Two credits are given. (2) A study of modern music, also with illustrations and lectures, a thesis being required of each student upon some assigned phase. Credit is two hours. The department conducts weekly public lectures upon appreciation of music, while a glee club and a student orchestra are maintained. (175. 1913-14:73.) New York University offers courses, but the department "is in a tentative stage." (423.) (1) Mus- NEW YORK UNIVERSITY ical appreciation is taught in the usual form with two credits. (2) The modern opera with -special emphasis upon Wagner's "Ring of the Nibel- ungen," two credits given. (3) An elementary course in harmony and ear training, giving one credit. Only the third course requires previous musical knowledge. (176.) The institution does not grant credit for entrance, but does so toward a degree, while the subject ranks with other studies. The courses have been in only since 1912, and are mainly cultural. There is no extra tuition in the department. One instructor is employed, with eight or nine registered students. (423.) In taking up the subject in Wells College, we find a general WELLS COLLEGE musical course intended for a liberal education. The courses are as follows: 119 Appreciation 1 hour Opera 2 hours Elementary music course 1 History of church music .... 2 Harmony 3 History of pianoforte 2 Counterpoint and composition . 2 Musical sound 1 Analysis and interpretation ... Elements of musical History of music and musicians . 2 aesthetics 1 All the above courses count toward an academic degree. Systematic instruction is given in piano, organ, violin, viola, 'cello, vocal music, choral and sight singing, chamber music, and in methods of teaching music. These applied studies count toward a special musical diploma. The latter is a four-year course, exclusively musical subjects, with the exception of one year of Italian, with voice as a major study. (178. 1913-14:54,62.) William Smith College treats music as a cultural rather than as a profes- sional subject. Six courses are offered in history WILLIAM SMITH COLLEGE and theory of music, which credit toward a degree. The courses are: history of music, appreciation, elementary theory, harmony, counterpoint, pedagogy, which has to do with the supervision of music in primary and secondary schools, one hour a week being devoted to each of the above subjects. (179. 1913-14:56.) Some of the colleges which do not recognize music MISCELLANEOUS COLLEGES are: Colgate University, Saint Lawrence Uni. versity, Hobart College and Union College. (181- 182. 183.) NEW JERSEY. Princeton University has no chair of PRINCETON UNIVERSITY music, but maintains a musical library. (184. 1913-14:289.) Rutgers College offers as a prize, the income from $3000, which is won by competition. The winner acts as leader in musical RUTGERS COLLEGE exercises, in which the college engages as a body. Other than this, the school gives no place to the study. (185.) PENNSYLVANIA. A chair of music was established in the University of Pennsyl- vania in 1875, along the theoret- UNIVERSITY OF PENNSYLVANIA ical lines. (426.) The require- ment for entrance was a knowl- edge of the rudiments, and the ability to play some instrument. The course was a special one and has always remained so. The first year offered harmony, the second counterpoint and composition, and the third orchestration. The fees were $30 a year. By the year 1890, a certificate of study was given to one who completed the full course and produced as a thesis a satisfactory original composition. It was, furthermore, the intention of the department to hold a commencement for the purpose of having a certain number of the theses performed on that day. Those who received such certificates could try for the bachelor of music degree under the following conditions: (1) A written or oral examination in harmony, counterpoint and composition, by three examiners appointed by the professor. (2) An original 120 composition in the form of a cantata for soli and chorus, with an accompaniment of at least a quintette of strings. (3) This com- position must require twenty minutes to perform, must contain a four part fugue, and the accompaniment must be independent, except in the fugue. (186. 1890-91:39,118.) By 1892, the doctor of music degree was added, to be con- ferred upon one who had written a cantata, oratorio, or sym- phony, and which had been accepted as a valuable contribution to the musical world. (186. 1892-93:164.) The course was extended to four years in 1899, and consisted of: first year, harmony; second year, melody; third year, larger forms of composition, modern counterpoint, fugue and canon; fourth year, orchestra and scoring of the exercises already written, in preparation for graduation. The theoretical examination for the bachelor of music degree must also be both oral and written, other requirements being the same, except that the original composition must be scored for full orchestra. (186. 1899-00:99.) The admission requirements in 1900 were made identical with that of the freshman in arts and sciences. Candidates for the bachelor of music degree must take three of the five courses offered in English language and literature. Such students were recommended to take two years in physics and history of music. The latter course had been added for those not specializing in music. (186. 1900-01:100.) A summer course in harmony was added in 1906, (186. 1906-07:264.) and the following summer, counterpoint was offered. Agreement was also made with the Combs Conservatory of Music, by which candidates for the music degree in the university might have their compositions performed by the conservatory symphony orchestra, at the discretion of the professor of music, and the director of the conservatory. Music students at the university could attend all lectures and recitals of the conservatory. (186. 1907-08:294.) A course in history and aesthetics of music was added in 1912, the four year theoretical courses leading to a musical degree remaining the same up to the present. The name of H. A. Clarke has been identified with the in- stitution for many years, he being the only instructor. Applied music has never been encouraged within the university. The course still remains a special. Some credit is given for work in music in " teachers' course" on the same footing as other sub- jects. The average enrollment in the department is about forty. (426. 1912-13:78,243.) Passing on to Bucknell University, we find a school of music with seven teachers. The usual applied branches are taught, BUCKNELL UNIVERSITY and strings complete, even to double bass violins. Piano is a four year, and voice a three year course, with the recommendation that harmony be included in the course. 121 To all appearances, there is no real or vital connection with the academic part, nor is theoretical work in music required for completion. The enroll- ment, which averages one hundred fifteen, equals a fifth of the total college registration. The tuition in applied studies is $60 a year, class lessons in harmony $18. The Virgil practice clavier is used by three of the teachers. An orchestra and a band are maintained in the university. (187. 1906-07:195,209. 1907- 08:49,195.) Lebanon Valley College has likewise a con- LEBANON VALLEY COLLEGE servatory of music employing six teachers. The usual applied branches and theory are taught, ' with a recital at graduation. 1st year 2d year 3d year 4th year Applied major Applied major Applied major Applied major Greek or Roman Harmony Harmony Harmonic analysis hi p y Musical history Theory of music Psychology of music English English German Sight playing Four hours' daily practice is understood with the major applied subject, while each hour of practice counts as a half hour credit. A piano graduate must take three terms in voice or organ as a minor. A voice or violin graduate must study piano for three terms. The sophomore year is required in organ. For a bachelor of music degree, the candidate must have finished the above work for a diploma, and one year of canon, fugue and original composition. Tuition in applied branches is $60 per year, the assistants being somewhat cheaper. Class instruction in theoretical branches averages about $36. The special music enrollment is forty-seven, academic students enrolled in music thirty-two, while the total music registration averages seventy-nine, at present. (188. 1913:70,83. 1914:69.) The Perkiomen Seminary has a department of music of about the same size. The aim is to reach the stage of advancement PERKIOMEN SEMINARY where one or two years in our best conservatories will secure a diploma." The Virgil practice clavier again is used for intensive hand culture. Piano has five grades, voice has four and violin three. There are also courses in harmony, theory of music (acoustics) and history of music. Graduation requires an applied subject, two years of harmony, theory and history of music, and the performance of a program. If in voice, a year of French and German is required. All graduates must have a knowledge of common English branches, and one year each of algebra, literature, ancient history, rhetoric, English classics, German and French. Three clubs and a symphony orchestra are maintained by the students. The tuition for a year in applied branches with three in a class is $20, privately $30 to $50. Theory and harmony in class are $20. Music students pay the usual rates for academic branches. The music enrollment averages eighty-six, the academic courses about one hundred eighty-five students. (189. 1912-13:43:117.) Grove City College has a music department employing six teachers. Piano, organ, violin and voice are taught, the only GROVE CITY COLLEGE academic work required being German, French or Italian in voice as a major. Graduation requires at least three years. The tuition runs as follows for a term: voice or piano, $22 to $27; organ, $35; violin, $27; harmony in class, $12; counterpoint, two in a class, $15; composition, $20; dictation and ear training, $6. A certificate for teaching is given to those with aptness, and who complete one year in theoretical piano instruction, one year of supervised piano teaching, two years in history, and two years in harmony and forms of music. The total music enrollment is one hundred seventy-five, fifty-nine being in the department for a certificate in teaching. (190. 1913-14:60,120.) 122 The Pennsylvania College for Women has a school of music with three teachers, sixteen practice pianos, and instruction in PENNSYLVANIA COLLEGE all departments, including cornet and other unusual FOR WOMEN instruments. College students may count two hours of music toward a degree, if one hour is theoretical, for which one hour of practice may be combined. A definite amount of practice and theoretical work gives a certificate in piano, organ, voice or musical pedagogy, a great effort being made to have the work truly educative. The theoretical department includes harmony, counterpoint, canon, fugue, musical form, free composition, orchestration, history of music, appreciation, a teachers' course, and a children's course, in which the advanced pupils do the teaching. Class instruction for all theory a semester is $15. Piano, voice, violin, harp, guitar, madolin, etc., $50. Children's course, $20. (191. 1909-10:58,79.) The following institutions recognize music upon the curriculum to less extent and in varying ways: The Pennsylvania State College has no music department, but opportunity is given for piano and vocal instruction. A PENNSYLVANIA STATE COLLEGE music course in home economics is free. (192. 1910:34. 1913-14:43.) The Pennsylvania College at Gettysburg has choral and instrumental musical organizations, consisting of a band, an PENNSYLVANIA COLLEGE orchestra, guitar and mandolin club, and glee club, which usually take a ten days' trip during the year. (193. 1912-13:98. 1913-14:103.) The University of Pittsburg put in a school of education in 1910. Among the new departments opened up for the training UNIVERSITY OF PITTSBURG of teachers was one in music. A supervisor was employed to give the instruction. (194.) Bryn Mawr, Allegheny College, Lafayette College, Lehigh University and Washington and Jefferson College have no MISCELLANEOUS COLLEGES musical instruction of any kind. (195. 196. 197. 198. 425.) CHAPTER II. SOUTH ATLANTIC DIVISION. DELAWARE. Delaware College a Newark has no department of DELAWARE COLLEGE music, nor does it maintain any musical organizations. (199.) MARYLAND. Johns Hopkins University of Balti- JOHNS HOPKINS UNIVERSITY more has neither musical organ- izations nor a department. The Woman's College of Baltimore had five instructors to give instruction in piano, voice, violin, theory and organ WOMAN'S COLLEGE OF BALTIMORE in 1902. An appended note reads to the effect that only piano was to be continued 123 the following year. Piano pupils were instructed in classes of two. The tuition in applied branches was $90 a year. (200.) DISTRICT OF COLUMBIA. Howard University at Washington, D. C., has a conservatory with four teachers. A four year high school course is necessary HOWARD UNIVERSITY for a diploma, which further required four years in piano, voice, or violin. The theory course includes two years of harmony and harmonic analysis. All candidates are advised to take literary work. The department was organized in 1892. A choral society, orchestra, glee club and university choir are maintained. Tuition in applied subject ; is $5 per month, for harmony in clasi $1.25. History and ear training in class $1.25. (201. 1913-14:120,244.) George Washington University has no department of music, nor does it give entrance GEORGE WASHINGTON UNIVERSITY credit, or credit toward a degree for any such work. (203. 427.) In 1907, Georgetown University had a director of music as well as an instructor upon the banjo, guitar and mandolin GEORGETOWN UNIVERSITY No such instruction is given according to a late, catalog. (202.) VIRGINIA. While the University of Virginia makes no provisions for a musical course during the college year UNIVERSITY OF VIRGINIA (204. 1914:56. 428.) a summer course is put in for the training of teachers of public school music. Three summers gives a certificate. An appended note reads to the effect that ''in the near future, the grade teacher will have to qualify in music as in other subjects," and, as a result, the course was outlined. The first year includes sight reading, dictation, materials devoted to the kindergarten and first four grades, presentation of material and manner of presenting the rote song, methods and the rudiments of music. The second year takes up sight reading in grades five to eight, using the Latin syllables, melody, dictation dealing with tone and rhythm are used in the same grades, material to high school study of charts and books, methods and study of the pedagogical principles, dictation, high and normal school music, advanced courses in theory, musical appreciation, chorus singing and prac- tice conducting; practice teaching is also introduced, harmony and chorus. Piano is taught by a concise method eliminating etudes and studies, thus gaining technique in the shortest possible time. Violin is taught also. (204.) College of William and Mary has no provision for music nor COLLEGE OF WILLIAM AND MARY 124 WEST VIRGINIA. A school of music was established in the University of West Virginia in 1897, "for the pur- UNIVERSITY OF WEST VIRGINIA pose of getting a musical train- ing with other necessary ad- vantages, at a reasonable cost." Piano, organ, voice, violin, mandolin, guitar, banjo, cornet, clarinet and other brass and reed band and orchestral instruments were taught. Theoretical work included harmony, counterpoint, theory, history, compos- ition, orchestration, sight singing and other kindred subjects. Candidates for bachelor of arts degree could elect three courses in music for college credit, bachelor of philosophy could include five courses in music toward the degree, while a candidate for bachelor of letters might elect six musical courses toward college credit. At least two of the courses in each case had to be chosen from the science of music, harmony, counterpoint, theory or analysis. No credit toward a degree was given in the first three courses in piano, violin, voice or other stringed instruments. A graduate had to complete some applied study, besides harmony and theory, with a public program. Voice students added to this two years of French or German and two years of piano. The tuition for two private lessons a week for twelve weeks in piano was $12 to $18, class of two same terms, class of three $9 to $13, class of four $8 to $10, voice two lessons a week for twelve weeks $18. Theoretical courses were free to all music students. (207. 1897-98:152.) By 1902, there were ten teachers, double the number in the first year, 1897, while the courses remained practically the same. (207. 1902-03:149.) In 1903, credit toward a degree in theory could not exceed five courses. A voice teachers' certificate for two years' work was offered. The certificate for piano or violin required three years' study. Proficiency in language was recommended, as the depart- ment was frequently requested to furnish music teachers who could teach a language. A recognized demand throughout the country called for a public school music course for teachers and supervisors, so that full courses had been placed upon the curri- culum. (207. 1903-04:146,241.) In 1910, the credit for music toward a college degree had been cut to two and one-half courses. (207. 1910-11:232.) The schools of music and fine arts were thrown together in 1912. Credit toward the A. B. degree could not exceed fifteen hours, and must be confined to theory and history. (207. 1912- 13:197,199.) The following table shows the increase since the department was established: 125 Music Total Music Total enrollment registration enrollment registration 1897-98 54 845 1904-05 225 1,412 1899-00 242 1,026 1905-06 167 1,422 1901-02.. ..141 825 1910-11 139 1,426 1902-03 . . . . 289 1,099 1912-13 107 1,271 1903-04 234 1,256 1913-14 123 2,014 As the courses are given at the present time, they include piano, violin, voice, organ, accompanying, chamber music, orchestra, band music, harmony, sight reading, public school music, counterpoint, canon and fugue and history of music. In voice, piano and violin, a three year teachers' certificate course is given. A four year course leads to an artists' diploma. Candidates for a teachers' certificate must have completed two years of high school English, one year of history and one of foreign language, with harmony, counterpoint, form and analysis, and history of music. The artists' diploma requires the same, with a graduating recital. No entrance credit is given for music, while fifteen semestral hours are allowed toward the A. B. degree. A voice graduate must take one year each of French, German and Italian, and two years of piano. A violin graduate must plav the piano. The piano tuition for a semester is $28 to $40, voice tuition $20 to $40, violin $28, organ $40, wood and brass instruments $20, theory in class $16 to $20. Music students pay the usual academic fees. (207. 1913-14:106,229,429.) NORTH CAROLINA. The University of North Carolina has a musical association for the purpose of fostering a UNIVERSITY OF NORTH CAROLINA love for music, and to offer opportunities of instruction to those who are interested in music. The organization consists of a band, an orchestra, a mandolin and a glee club, and dates back to 1907. (208.) The summer school has three courses for teachers as follows: (1) Public school music course for grade teachers consisting of sight singing, rhythm, sense training, observation and folk songs. (2) Sight singing, chromatics, dictation, rhythm, two and three part singing, chorus and conducting. (3) A course for those intending to qualify for supervisors, and includes special work of supervisors, besides harmony. (209.) Shaw University for colored students has a music department employing two teachers. Piano furnishes the specialty, and has SHAW UNIVERSITY four grades. Sight singing, ear training, time, form and song expression are taught also. The tuition for vocal or instrumental lessons is $1.50 a week, for two lessons weekly. 126 The music enrollment is fifty-seven, the total college registration fivJ hundred fifteen. The institution is of college rank. (210.) SOUTH CAROLINA. The University of South Carolina does not offer any music] courses, but hopes to secure UNIVERSITY OF SOUTH CAROLINA a director of music in the near; future. (211. 430.) Converse College at Spartanburg has a department offering instruction in] piano, organ, violin, voice and theoretical study ofi CONVERSE COLLEGE music. The rigid discipline of the course is shown by^ the fact that, out of nearly three hundred musical students, only two or three are graduated in one year. The bachelor of' music degree requires seven years. The doctor's degree demands three more. The college provides thirty-four music rooms for the accommodation of] students. (212.) GEORGIA. Among the optional courses of the Georgia University in 1911] were common school music, violin, voice GEORGIA UNIVERSITY and harmony, the latter being a three; year course. If any courses exist now, they are of minor importance, since a late letter says "there is. no department of music in the university." (213. 431.) FLORIDA. UNIVERSITY OF FLORIDA The University of Florida has no provision for music. (214.) The Florida State College for Women has a school of music practically self-sustaining. All class and chorus work is free. FLORIDA STATE COLLEGE Instruction is given in piano, voice, organ, violin, FOR WOMEN theory and history of music. All students are required to take some literary work in connection with music, since it is believed that the highest results cannot be attained, without at least the foundation of a liberal education. A large part of the time is given to teaching normal school students the principles of public school music. It is a four year course. Theoretical studies include harmony, counterpoint, canon and history of music. The sub-collegiate course consists of the following subjects: 1st year 2d year 3d year 4th year English English English Electives French German German Music History History Philosophy' Music Music Music The four years require one hundred twenty-six hours, fifty of the same being in music, to procure a certificate in music. (215. 1911-12:53,95,173.) The part of physics relating to sound is required for a term of three weeks, without credit. For bachelor of music degree, two units of the entrance requirements must be Latin. (215. 1912-13:113.) 127 John B. Stetson University has a school of music employing six teachers. The aim is to turn out well educated musicians, JOHN B. STETSON UNIVERSITY giving opportunity for a broad culture. In- struction is given in piano, voice, violin, organ; in theory, harmony, counterpoint, canon and fugue, instrumentation, acoustics, elementary and advanced sight singing. The piano course requires piano, harmony and history of music. The voice course requires piano, voice, harmony, history of music, French, German or Italian. In addition to the regular courses, the department of university extension offers lecture recitals upon musical subjects. (216.) CHAPTER III. SOUTH CENTRAL DIVISION. KENTUCKY. The University of Kentucky maintains glee clubs, an orchestra, and gives concerts throughout the UNIVERSITY OF KENTUCKY state. (217.) A music department has a nominal connection with the university, there being no credit for the work, either as a college study or as entrance. The college is, however, very much interested in the subject, and hopes to have an organized, regular department in the near future. (432.) TENNESSEE. The first instruction in the University of Tennessee was in 1893, and consisted of private UNIVERSITY OF TENNESSEE lessons "in vocal and instrumental music, individual or class, given at the university by competent licensed teachers." A trained choir, an orchestra and a glee club existed also. (218. 1893-94:17.) In 1901, an instructor was listed who taught voice, piano, organ and harmony. By 1906, theory and history of music were included in the curriculum. (218. 1906-07:4,84.) Music is first mentioned as entrance credit in 1907, and included musical theory one unit, and performance one unit, the latter averaging about two years of systematic study to be acceptable. (218. 1907-08:89.) Maryville College has a musical department employing six teachers. Piano, voice, theory, harmony and history of music are MARYVILLE COLLEGE taught. For a diploma in piano, the three last branches, with the ability to play six compositions from the classics of the sixth grade are required. In voice, ten such selections are required. Free instruction is given in choir, sight reading, band and glee club. (219.) 128 Fisk University, colored, has a department with six teachers, both vocal and instrumental music being represented. The chair was FISK UNIVERSITY established in 1885, and began systematic instruction in voice, which resulted in the well known Jubilee Singers, who saved the immortal songs of their race. All students above the fourth grade in music, must take harmony in class with a small fee. Music specials are required to practice three hours per day, and take another study in addition to music. The school has twenty pianos, a pipe organ and two practice claviers, with a library of four thousand musical volumes. There were one hundred sixty-one enrolled in music in 1907, the college total being five hundred seventy-one. (220 all ref.) Grant University allows s udents who are sufficiently advanced in music of a collegiate rank, to take such instruction from teachers GRANT UNIVERSITY of Chattanooga who are recommended. Twelve semestral hours will be allowed for A. B. or B. S. degrees, while eighteen hours will be permitted for music work toward a Litt. B. degree. (221.) The Vanderbilt University has a vocal music course of five months, since VAMTWRRTTT TTMTvi?R;TTv tne art of vocal music is considered indispensible VANDERBILT UNIVERSITY ^ & minister (22 2.) Cumberland University has a conservatory with three teachers. The chair was established because the "south de- CUMBERLAND UNIVERSITY manded standard academic music study." A teachers' certificate requires at least one year of academic study, three in voice, piano or organ, and one each of harmony and history of music. For a diploma of graduation and a degree, a fourth year of piano or violin is required, or a third in voice with two years of harmony, theory and history of music, and a year of academic study. Tuition for applied subjects for five months is $35, for the first three years; the fourth year tuition for the same is $40. Harmony theory and history are $10 for the same period. Elementary theory is free to music students. (223.) Peabody College for Teachers has a professor of music upon the faculty, while a glee club is listed. Otherwise PEABODY COLLEGE FOR TEACHERS there is no mention made of music. (224.) UNIVERSITY OF THE SOUTH University of the South gives no instruction in music. (225.) ALABAMA. The University of Alabama has no chair of music, nor is any UNIVERSITY OF ALABAMA SSLf^ttS * ^^ ^ *"" Music has been recognized in the Tuskegee Institute since its beginning. Note and sight reading are taught, as well as the TUSKEGEE! INSTITUTE classics, because of their cultural and educational value. A special study is made of negro folk songs. (388.) MISSISSIPPI. The University of Mississippi has no instruction in music. The students have a chance to UNIVERSITY OF MISSISSIPPI study music, but not under uni- versity authority. (227. 434.) 129 Mississippi Industrial Institute and College has a music department with eleven teachers. Established in 1884, it was MISSISSIPPI INDUSTRIAL the first state college ever founded for women. INSTITUTE AND COLLEGE Both voice and piano are taught, one hour of credit being allowed each semester in the latter. A candidate for a diploma in voice must complete the academic course of music, and two years' piano. The college offers a normal department of two years, in which each student gives two lessons a week to a child under the supervision of the instructor. All piano pupils are urged to take the A. B. or B. S. degree to insure broad mnsicianship, and deeper appreciation of the intellectual in music. The course is as follows: FRESHMAN SOPHOMORE English 3 hours English 3 hours Modern language 3 Modern language 3 Harmony 2 Harmony 2 Piano or voice 1 Piano or voice 1 JUNIOR SENIOR Physics 3 Musical history 2 Psychology 3 Normal music 1 Theory and musical history .... 2 Sight singing 1 Normal music for piano pupils. . 1 Piano or voice 1 Piano for voice pupils 1 Tuition for piano or violin, half session, $28; for voice, half session, $28; for harmony, theory and history, $10. (228.) Mississippi Agricultural and Mechanical College has a well developed college band, under the leadership of a director MISSISSIPPI AGRICULTURAL of music and of the wood shop. A college glee AND MECHANICAL COLLEGE club has aroused considerable interest. Aside from these organizations, there is nothing to be said of musical development in this college. (229.) LOUISIANA. The University of Louisiana gives entrance credit in music, but none toward a degree. (435.) UNIVERSITY OF LOUISIANA Three courses were offered in the summer school of 1914, but without any detailed information. (230. 1914:136. 36. 1911-12 and 1912-13:108.) The Louisiana Industrial Institute has a music course which shows steady and satisfactory growth. All branches of LOUISIANA INDUSTRIAL INSTITUTE music show over 20% growth. The violin department has increased 200% in two years, the band has forty members, while the orchestra is composed of ex- perienced players. There is also a splendid girls' chorus. Twenty pianos in that department are in use all the time. (36. 1&11-12 and 1912-13:130.) Tulane College offers exceptional musical advantages. By an arrange- ment of the board, the School of Music of Newcomb TULANE COLLEGE College has been opened to students of the academic colleges for men, and hence the strength of such work is centered in Newcomb. The school of music of H. Sophie Newcomb Memorial College was estab- lished in 1909, and placed on a standard of excellence equal to that maintained by other schools of the college. The same high requirements for admission, 130 the same advanced grade of instruction and well trained instructors were adhered to strictly. In 1911, these courses were thrown open to men students, in response to an increasing demand for good instruction in musical branches, since Tulane College did not offer an equivalent to its male students. It was recognized that, in many studies in music, particularly in ensemble and orchestral work, the presence of both men and women was almost a necessity. The aim is to furnish superior facilities for the study of music in all its branches. Extended practical and theoretical courses are offered; first, to regular students, either as composers, performers, teachers or critics; second, to college students who desire to study composition, musical history or apprecia- tion as elements of liberal culture; third, to special students who wish to specialize in one or more brances of music. The courses offered are the regular course leading to the bachelor of music degree, public school music course leading in two years to a teachers' diploma, or in four years to the bachelor of arts degree in education, combined course in public school music and art, special courses leading to a certificate, courses for teachers, courses for academic students counting toward the bachelor of arts degree, seven courses in all being given. (231. 1914:231.) The course of study leading to the bachelor of music degree is as follows: SOPHOMORE Major 1 hour Harmony 3 Solfeggio 2 History of music 2 FRESHMAN 1 hour 1 Major. . Theory \ year \ Harmony year / Solfeggio 5 Appreciation of music 2 Recital class 1 English 3 French or German 3 Physical training Minor (possible extra) JUNIOR Major 1 hour Counterpoint 2 History of music 1 Solfeggio 1 Ensemble 1 Recital class 1 Electives 7 or 8 Minor 1 or 2 Practice teaching 2 Normal course in teaching major instrument 1 Psychology 3 History of art 1 English 3 French, German and Italian. .3 History 3 Methods in public school music . . . . 3 Ensemble 1 Recital class 1 English 1 French or German 3 Physical training Minor (possible extra) SENIOR Major 1 hour Canon and fugue Free composition Instrumentation and con- ducting Analysis '...!' Ensemble 1 Recital class 1 Thesis or graduating recital . . 1 Electives 7 or 8 Minor 1 or 2 Canon and fugue 2 Free composition 2 Instrumentation 2 History of music 1 Pianoforte sight playing 1 Song repertoire and inter- pretation 1 Practice teaching 2 Normal course in teaching major instrument 1 Psychology 3 History of art 1 English 3 French, German and Italian. .3 Methods in public school music 3 (231. 1914:182.) 131 A fair reading knowledge in two foreign languages is required of graduates and they must have pursued for two years, certain studies chosen with the aim of future specialization in teaching, composing, concert performance, or work in musical criticism and the literature of music. Before graduation, each candidate for a degree will be expected to give a recital, or present an original composition for voices and orchestra, or write an original essay representing careful investigation of a musical topic. The four year course in public school music leading to bachelor of arts in education, requires the educational and academic studies necessary for all public school teachers, besides giving good fundamental training in music. The studies are as follows: FRESHMAN SOPHOMORE English, composition, rhetoric, English, literature, American literature 3 hours language 3 hours Foreign language 3 Foreign language . . 3 Physics or chemistry 5 Biology 5 Mathematics, algebra, trigonometry, History 3 analytical geometry 5 Elective 3 Elective 3 Thirty hours are required in education in the junior and senior years; five in educational psychology, two in educational hygiene, five in history and principles of education, and two in elementary or secondary education. The remaining sixteen are elective. (231. 1914:89.) The two year course permits the holder to teach in the public schools of Louisiana. An equivalent course is offered in music and art combined, since there is demand for the double teaching. A two year and a four year course are offered, corresponding to the same in the public school course. The following courses to the extent of nine hours may be elected toward the A. B. degree during the junior and senior years: Elements of theory Appreciation of music Elementary harmony History of music Advanced harmony Elementary solfeggio Counterpoint Intermediate solfeggio Canon and fugue, composition, instrumentation, and conducting may be taken, but only by students of unusual preparation and ability. In cases of exceptional talent, these courses may be elected also in the freshman and sophomore years as well. Nineteen courses are given in the theoretical department, and practically all the usual instruments in applied music. (231. 1914:233.) TEXAS. The University of Texas put in a chair of music January 1, 1914. The courses are cultural and UNIVERSITY OF TEXAS require no extra fees. One instructor is employed in the department, and there are eighty-four registered students. Credit is given toward a degree, but not for entrance. (436.) The courses listed in the college of arts are harmony, advanced harmony, composition, harmonic analysis, analysis of musical forms, methods of musical composition and types of design, history of music and choral singing. The counterpoint, composition and harmonic analysis are omitted this year. (232.) 132 Baylor University has a conservatory of music employing ten teachers. The courses include piano eight grades, organ six BAYLOR UNIVERSITY grades, violin eight grades, voice the same, mandolin, guitar and cornet each two grades, harmony, counter- point, canon and fugue. Piano graduation requires the full piano course, full harmony course college entrance, three courses of college English and a recital. Both the violin and piano have four grades of post graduate work. A public school music course is given in addition to the above. The bachelor of music degree requires fourteen units entrance credit, and thirty-three majors as follows: Five to twelve grades in one branch 9 majors . Harmony and counterpoint 1 Other branches of music equal to 5 English and other modern languages 8 Electives not over six in music 9 The tuition in piano is $50 to $90, harmony and counterpoint in class for a year $27. (233.) The conservatory of Texas Christian University has four teachers upon the faculty. TEXAS CHRISTIAN UNIVERSITY Courses are offered in piano, violin, voice and theory, with a normal piano course. Graduation requires eight grades in an applied major, full harmony course, and a recital. Certificates of proficiency are given to those who finish all but the eighth grade and a recital, if they have played twice in public. Voice graduates must have four grades in piano. All music graduates must qualify for entrance in English, general history and elementary physics. Piano or violin graduates of the conservatory are allowed fifteen credits toward the A. B. degree, or seventeen in voice. Piano tuition a year is $90 to $125, violin or voice $30 to $40, harmony in class $40. The music enrollment is fifty, that of the entire college, five hundred twenty-eight. (234.) ARKANSAS. The earliest catalog available for the University of Arkansas, 1898, shows that there was a music UNIVERSITY OF ARKANSAS department offering piano six grades, violin, voice, guitar, mandolin and harmony. (235. 1898-99:108.) By 1901, courses were offered in harmony, counterpoint, musical analysis, musical history, general musical theory and sight reading. A diploma was offered for finishing the piano course. There was also a post graduate course in the same. (235. 1901-02:118.) A late bulletin announces that units will be accepted in music only for students entering the special course in music. Tuition for applied music is $22.50 to $27.50, harmony or history in class $5. (235. 1913-14:45.) 133 OKLAHOMA. As early as 1898, the University of Oklahoma had a school of music employing five teachers. UNIVERSITY OF OKLAHOMA The courses offered were first prin- ciples of music, choral class, which included chorus and glee club, orchestra and a mandolin club. A preparatory course in piano included one grade to four, the teachers' course was fifth, the sixth was an artists' course, and a graduate course. Beginning with 1899, an extra course was to be required in harmony and counterpoint for graduation. The graduation course in voice required four years. The piano preparatory course was as follows: 1st year, 1st semester, piano, composition, United States history, arithmetic. 2d 3d 2d piano, classics, civil government, algebra. 1st piano, rhetoric, general history, Latin. 2d piano, American literature, general history, Latin. 1st piano, voice, physics, physiology. 2d piano, voice, harmony, plane geometry. The admission to the collegiate course was equivalent to that of the arts and sciences. There was a two year teachers' course in piano, voice or violin. Oklahoma resident students who had been in attendance in the music department for two years received the third year free. (236. 1898-99:30,46.) In 1904, the following courses were free to all students in the fine arts school. Those who completed the work could become candidates for the A. B. or B. S. degrees, and get credit in the courses marked with a star. 1st semester 2d semester Elementary theory Elementary harmony *Harmony *Harmony elementary composition *History of music *Biographies *Counterpoint composition *Fugue and composition instrumentation composition *Advanced composition *Aesthetics *Psychology in relation to music Post graduate courses were given in piano, voice and violin. The junior year gave a certificate of merit, finishing sophomore work in some branch gave a teachers' certificate. The bachelor of music degree, put in about 1901, was offered for the completion of piano, voice or violin. (236. 1904-05:99,108.) In 1905, theory courses in the college of arts and science were opened as electives, and included harmony, counterpoint, canon and fugue, composition, instrumentation, musical form and history of music. (236. 1905-06:93.) A course to fit supervisors for teaching music in the public 134 schools was mentioned in 1911, and included harmony, musical form, ear training, rote songs, conducting and practice teaching. The courses for the bachelor of music degree were as follows: 1st year 2d year Harmony Counterpoint History of music Musical form ' German or French English Physical training Elective, three hours 3d year 4th year Canon and fugue Instrumentation Psychology Thesis each semester Musical analysis Total, 58 hours. Elective, three hours (236. 1911-12:128,142.) The present courses include the bachelor of music degree, for the completion of one of the four regular applied studies, and also courses in 'cello, cornet, and other band and orchestral in- struments. A certificate is offered for completion of work in public school music. A high school graduation is required for admission. Three units may be offered in music as follows: two years of violin or piano count as three units, and are given only upon examination. Tuition is free except in applied studies. After a student has been a member of any organization, glee club, band or chorus for one semester, a half credit is given each semester. Not over four hours may be so allowed. The bachelor of music course in theory requires the following studies : 1st year 2d year Harmony 4 hours Counterpoint 2 hours History 2 German or French 4 English 4 Elective 2 Public speaking 2 Philosophy No credit Physical training 1 (Second semester elective) 3d year 4th year Canon 2 hours Composition 4 hours Musical form 2 History of music 2 Instrumentation 2 Elective 4 Fugue or musical analysis ... 2 Instrumentation 4 (Second semester elective) (Second semester elective) The course for piano, violin or voice is practically the same. Voice, however, requires a year of Italian. (236. 1913-14:171.) Courses are offered in 'cello, cornet and other brass instru- ments, not leading to a degree. (40. 1912:102.) Kingfisher College offers work in the common applied branches, and courses in theory. Full credit is given for harmony, KINGFISHER COLLEGE musical history and theory, when taken in connection with the regular music course above the third grade, provided such credit does not exceed a total of four units. Admission to the regular collegiate music course requires a high school graduation, with piano of the grade of dementi's Sonatas. 135 Completion of the sophomore year gives a teachers' certificate, junior year a diploma, and senior graduation leads to bachelor of music degree. A voice graduate must be able to play the piano. Entrance requirements in college studies are English four units, algebra three, physiology or physical geography one each, United States history one, Latin or German three, geometry three, botany two, physics two, 'ancient history one unit. All college and music students who are candidates for graduation take harmony, counterpoint, composition, musical analysis, advanced musical analysis, double counterpoint, and instrumentation. The bachelor of music degree requires the following studies: 1st year 2d year Piano Piano Harmony Harmony English literature Musical analysis Normal class German History of music Normal class Ensemble History of music Ensemble 3d year 4th year Piano Piano Composition Composition Counterpoint Canon and fugue Musical theory Double counterpoint German Instrumentation Acoustics Musical theory One oration Normal class One theme English literature Normal class One oration Ensemble One theme E nsemble recital The voice course for degree is practically the same, except that voice is taken in place of piano as major, and dramatic action and opera are studied. The enrollment in the music course for 1908 was seventy-three, total college attendance one hundred sixteen. (239.) CHAPTER IV. NORTH CENTRAL DIVISION. OHIO. The first courses in the University of Ohio were listed in the catalog of 1907 to 1908, summer term, UNIVERSITY OF OHIO and were designated as an elementary course, and advanced course and practice in chorus singing. (240. 1907-08:197.) In 1910, appreciation of music was added to the summer studies. (240. 1910:251.) There was no evidence of any winter courses. 136 The work presented is of such minor importance that it is not considered in the light of a chair of music, as shown by corre- spondence. (437.) By act of incorporation, 1834, the legislature recognized the founding of the "Oberlin Collegiate Institute." In the little clearing OBERLIN COLLEGE in the Ohio forest, pioneer hands began the work of education, which was to flourish for future generations. With the use of educational ideals, musical activities have always been in- separably linked in "the little school in the forest." It was the time of Lowell Mason, Hastings and Bradbury, when singing schools and conventions were at their zenith. It marked also the advance of civilization into the Great West, and the oncoming of a great educational activity. Fortunately for the early settlers, a number were from New Hamp- shire, a state which supported a vigorous musical society. President Mahan came to Oberlin, determined that "sacred music should be carried to its highest perfection." So the catalog of 1835 lists a "professor of sacred music." The following year, through poverty and dire necessity, a blank occupied the place reserved in the catalog for the professor of music. As if assured of better days, the catalog read that "particular attention will be paid to the cultivation of sacred music." After a lapse of two years, another name appeared, one of Oberlin's music apostles, George N. Allen, a piipil of Mason. While staging through northern Ohio, he halted to pass the Sunday, and because of his musical genius he was urged to remain. He was appointed "teacher of sacred music" which title became "professor" in 1841, and re- mained thus down to 1864, but with various other subjects attached to it at different times. For more than a quarter of a century, the name of Allen played an im- portant role in the formative period of Oberlin College. These quotations were taken from the catalog, and show the nature of his work: 1839-40 "In- struction in sacred music is free to all. Not far from one hundred have attended the regular classes in this department." A year later, "not far from two hundred and fifty have received instruction in this department the last year." 1841-42, occurred the notice, "during the past year an increased attention has been paid to the study of sacred music. Systematic instruction has been given to upwards of four hundred pupils, including a large class composed of young children of the citizens of the village." Five years later, mention is made of a commencement concert. From 1842 on, the announcement is made regularly that "systematic and thorough instruction in music is given to all who wish it. A large portion of the members of the institution are attending to this branch of study." From this date on, the term "sacred" was omitted, indicating that music was no longer prized only for religious uses. In 1849, notice was given that "instruction in instrumental music can be had also at moderate charges." In 1853, this announcement was made: "Although instruction in instrumental music forms no part of the course, yet ample opportunities are here afforded with extra charges to those who wish such instruction. Special pains have been taken during the past year to provide suitable instruments for practice, and to provide thoroughly com- petent teachers, while at the same time, the terms are as moderate as can possibly be afforded. For the pianoforte, the terms are eight dollars a quarter for tuition, and the usual additional charges for the use of instruments." This notice was repeated until 1865, except that tuition raised to twelve dollars. It is almost impossible for this generation to realize the embarassments under which the instructor labored. Conditions were primitive and finances were low. It was necessary to manufacture material for use. Except for the violin of the teacher, there were practically no instruments. By means 137 of hard labor, an orchestra of six or eight was collected. A double bass viol was brought into being by the mechanical skill of a young Scotchman. When it seemed impossible to procure enough copies for the choir, dies were obtained and the music was stamped on blocks of cherry wood, from which a number of copies were printed. The piano was objected to in earlier times. In 1840, the college trustees, possibly owing to lack of liking for secular music, resolved that "it is not expedient to introduce piano music as a branch of instruction." In 1841, they were in correspondence w r ith a firm engaged in making the seraphina, a rude forerunner of the modern cabinet organ, which was highly recommended because it "will not vitiate the mind and unfit it for devotion like the piano- forte. Not because the piano is not as sweet in its tones, but because it is not well calculated for slow and devotional music, and will not in such, or in any other times sustain a full harmony of sound." The next year, this record was made: "It is the sense of the trustees, that the style of sacred music taught be in accordance with what is understood to be the style of the Man- hattan Collection, or of Thomas Hastings." The first piano came to Oberlin in 1841, the second came in 1842, and was placed in the college. In 1842, Music Hall was secured by the united efforts of the choir and literary societies of the college. The first pipe organ came in 1855. Concerts and musical conventions came in those early days, sometimes under the management of Mason and Hastings. No trifling was allowed for, if need be, the choir was publicly prayed for, exerted and even rebuked openly. As early as 1841, the choir was a legal custodian of property, and began to collect a musical library. Another phase of Oberlin's musical life was the publication of song books. In 1844, "The Social and Sabbath School Hymn Book" appeared. While including mild camp-meeting pieces, and hymns upon death and the judgment, the attempt was worthy of all praise. This little volume was used for forty years, and went through seven editions, each one containing a supplement of new songs. In 1875, "Sacred Songs for Social Worship" came out. A third attempt was made in 1880, in the " Manual of Praise, for Sabbath and Social Worship," which displaced all other song books in Oberlin. During the entire period, at least five manuals of praise were published. With the incoming of the fifties came the dawn of a new era to Oberlin, and to its musical life. Railroads were pushing westward. The influence of German musicians was beginning to be felt, Italian opera as well, while Jenny Lind had woven her spell about the hearts of the multitudes. In 1849, Charles Churchill, a member of the choir, came across a set of unused pipes, which he put together and added a keyboard, thus fashioning the first organ Oberlin ever had. In 1852, the Oratorio of Absalom was performed, the first of the kind. Mason was there to instruct and drill. It was then that portions of the Messiah and Creation began to be heard. During the next decade, radical changes came. Mr. Allen retired in 1864, and in 1865 the "Oberlin Conservatory of Music" came into being with Morgan as "president and principal of sacred music" and Steele as "principal of the department of secular music." The institute was established "to supply a want generally felt by those interested in the cause of art." For two or three years, the conservatory had no organic connection with the college. In 1869, notice of "music theory" appeared in the catalog. By 1871, there were two hundred sixty-four students in music. In 1883. a magnificent structure was erected in three sections for the use of the music school, at a cost of $200,000. The general plan of the conservatory is similar to that of European schools, and aims at the production of intelligent musicians of liberal culture, in the various branches of musical activity. The library has fourteen thousand musical volumes. (247.) 138 The faculty numbers thirty-five at the present time, some of them of eminent reputation. Requirements for admission to the conservatory are those of the college of arts and sciences, except that more modern language may be accepted in place of Latin. For the degree of bachelor of music, three studies besides history of music are required, two of which must be pianoforte and theory. The third may be elected from organ, voice, violin, viola, 'cello, clarinet, oboe and cornet. By vote of the faculty, a teachers' certificate may be given to those who complete successfully either course in theory, with two other studies, and who meet the literary requirements, but who for some reason are not able to add the special work leading to a degree. Private lessons and a successful recital are required in the principal study in the last year. The three courses of theory are as follows: Course I Course II Course III Harmony 5 terms Harmony 5 terms Harmony 5 terms Ear training ... 2 Ear training 2 Ear training 2 Counterpoint . . 1 Canon and fugue . 3 Counterpoint .... 2 Analysis of Analysis of form . 1 Canon and fugue . 3 harmony and Free composition . 3 form 2| History of music to be taken with any of the above courses. The conservatory, which is one of the finest of its kind in the country, has one hundred thirty-two practice rooms. The tuition for class lessons a term in applied study is $20, harmony and ear training $6, counterpoint, canon and fugue, etc. $10, public school music $8. (248. 1912-13.) The Ohio University had a college of music employing seven teachers in 1908, much stress being placed upon a liberal education OHIO UNIVERSITY for the music students. A normal and an artist depart- ment of five grades was offered in piano, voice and violin. Additional courses were offered in clarinet, cornet, mandolin, guitar, etc. In the normal department, a great effort is now being made to prepare teachers for the profession of teaching music in the schools. Classes are offered both elementary and advanced, in theory and sight reading, and a teachers' method class. Two years are required for beginners to finish the course. As soon as prepared, students begin teaching in the model school under supervision. Two terms of public school music are required of all students in the normal college, the first being devoted to theory and sight reading and the second to different music systems. (241. 1908-09:83.) The subjects required are as follows: 1st year 2d year Voice Theory Voice Music methods Piano Harmony Piano Teaching Psychology Music methods Paidology Principles of education Management and Observation Harmony school law (241. 1911-12:97,140,161.) At present, the college of music is much like a standard conservatory, and employs ten teachers, all branches being offered. Three classes of students are considered: 1st, those who present entrance requirements, and pursue music with six hours of college work toward a diploma and a degree; 2d, college students who wish music; 3d, specials who take no college work. The bachelor of music degree requires four years. Bachelor of education is given to those who finish the music course in the normal college. 139 The four year college course in music now requires psychology, paidology, principles of education, German or French, sociology, and modern drama. (241. 1914 all ref.) The aim, in the college course, is to require four studies, a major and a minor in applied music, and complete courses in harmony and history of music. The candidate must complete one year of modern languages, and must offer a high school diploma course for admission. The ideal course requires five to six years, and gives full training in both college and musical studies. (241. 1913-14 all ref.) The summary of attendance for three years is as follows: Music enrollment College total 1909-10 ..309 1910-11 301 1,687 1911-12 321 1,832 (241. 1912-13:93.) Ohio Wesleyan University has a school of music with thirteen teachers, and was established as part of the university OHIO WESLEYAN UNIVERSITY in 1877. It aims to develop both professionals and teachers. All are admitted from the be- ginning in music study. The diploma requires some special line, and theoretical study. Com- pletion of the regular literary work of a high school is necessary. Post-graduate courses are offered in the four regular applied branches. Music courses are accepted in college to the amount of eighteen hours. Applied study is accepted when fourth grade, and to the extent of twelve hours. (242a. 1913.) The tuition in applied study is $18 to $33, class lessons in theory $15, history $5. (242a. 1914.) The music enrollment is two hundred twenty-four, total college attendance twelve hundred ninety. Miami University has a two year course for special MIAMI UNIVERSITY teachers of public school music. The course is as follows: 1st year. 2d year. Four courses in music Five courses in music Education Education English Public speaking Drawing School administration Physical education A combination of courses may be made so that a diploma in music and drawing may be secured in three years. The normal college offers elementary music, school music, harmony, history of music, singing, piano, glee club and choir practice. Harmony and history of music receive three hours' credit each in college work. (242b.) The instruction in music of the Baldwin Wallace College is given by the faculty of the conservatory which is connected BALDWIN WALLACE COLLEGE with the college. Students taking conservatory studies receive credit not to exceed thirty semestral hours. Applied music is credited to the extent of ten semestral hours, if higher than fourth grade. A graduate course requires no college study. The bachelor of music course requires entrance requirements, and college study includes French, German and English literature, besides the usual standard music study and theory. All applied branches and full theoretical studies are offered in the con- servatory. The tuition in applied branches is $27 to $37 a year. (243. 1913-14:124,147.) 140 Western College for women has a department of music. Theoretical work includes harmony, counterpoint, musical appreciation, WESTERN COLLEGE history of music and ensemble. Music may be elected toward the A. B. degree, but no student can receive credit for practical work in both music and art. Students electing one or more courses in applied music, will be held responsible for a prescribed course in theory. With full college work, two years are required to complete a course. Those who show ability and finish course three, are entitled to a diploma in music. Organ, violin and voice each offer a preparatory, a four year college course, and a post graduate work. (244a.) Western Reserve University offers courses in harmony, counterpoint, history of music, musical form and analysis. WESTERN RESERVE UNIVERSITY Harmony, counterpoint and history of music are offered in the graduate school also. (244b.) University of Wooster offers both applied branches and theory. Eight hours of music may be applied toward the A. B. UNIVERSITY OF WOOSTER degree in private lessons, not over ten being allowed for class study. No credit is given for the first two years of applied music. (245.) The University of Cincinnati offers work in education and the teaching of music, as a preparation for the city examina- UNIVERSITY OF CINCINNATI tion in the subject. Courses are further offered in kindergarten and music study, and criticism of kindergarten music, with one credit. (246.) INDIANA. The University of Indiana offered chorus, band and orchestral training in 1909, but without credit. UNIVERSITY OF INDIANA Arrangements could be made with the instructor for private lessons on reed, wood and stringed instruments. Piano lessons could be obtained without credit in the university. The course covered a two year elementary course, a four year advanced course and an artist course. The college gave a certificate to those who finished two years' college work, advanced piano and harmony and counter- point at the university. The latter studies gave credit toward a degree for those who presented entrance requirements. During the winter the German instructor gave a series of lectures upon the history and development of music. No credit was given, the work being intended as a basis for musical ap- preciation. (259. 1909-10:233.) At present the following courses are offered: History of music 3 hours Oratorio composers 2 hours Harmony and counterpoint . . 2 Nineteenth century opera .... 2 Musical forms 2 Modern composers 3 Lectures on ear training 1 The symphony 2 Orchestra and ensemble 2 Public school music 1 Band . . No credit Wagner's music dramas 2 141 The music courses count toward a degree, and also entrance credit in a sense, since such work is credited on high school diplomas. The chair of music has existed since 1910, and the general aim is cultural, with the same attitude as is shown in other studies. The department has been very successful. It employs two instructors and several assistants. The fall term enrolled one hundred eighteen. A normal department is just being established, and is at present incomplete. (438.) The University of Notre Dame offers courses in violin, piano, voice, organ, viola, flute, piccolo, cornet, trombone, UNIVERSITY OF NOTRE DAME guitar, mandolin, harmony, composition, orchestration, sight reading, orchestral and band training. The following conditions must be fulfilled to obtain the bachelor of music degree: The candidate must have been a resident student for one year, must have a theoretical knowledge of at least four of the instruments just named, and a practical mastery of one of them, and must pass an examination in harmony, counterpoint and composition. Two original compositions, (a) a fugue for full orchestra, or four voices with independent orchestral accompani- ment, (b) a composition in the free form (sonata or rondo) for piano, or a trio (pianoforte, violin and violoncello.) The tuition for piano lessons and use of an instrument was $60 a year in 1903, flute, violin, guitar, cornet or clarinet were $30, voice $40. The bachelor of music degree was offered for the first time in 1899, with the same requirements just mentioned. (250. 1902-03:29,92,96.) In 1910, the same applied courses and harmony were listed, but the musical degree had been dropped. (250. 1909-10:5,171.) De Pauw University has a school of music with ten teachers, which is an integral part of the university. Systematic study is DE PAUW UNIVERSITY made of piano, organ, voice, violin, viola, violoncello and other orchestral instruments, elements of music, harmony and counterpoint, canon and fugue, composition, conducting, en- semble playing, theory, history of music, chorus, orchestra, and classes in sight singing and public school methods. A preparatory and a collegiate department are offered, and later a four year graduate course of study. Bachelor of music is conferred upon those who have completed a liberal arts course. The musical course requires ability to read fairly well from orchestral scores, and to arrange for string quartet and chorus with orchestral accompaniment. The candidate must further be able to transcribe from the full score for piano, be a good accompanist, and be able to transpose at sight, piano compositions and accompaniments for songs. Those who complete the usual course receive a certificate of graduation. The end of the junior year entitles the candidate to a teachers' certificate. The requirements for the latter are harmony, sight singing, history and language. The course is as follows: 1st year 2d year Piano Piano Chorus or sight singing Harmony Musical history and biography Chorus or sight singing French or German Advanced history and biography Theory of sound 142 3d year 4th year Piano Piano Counterpoint, fugue, form Chorus, biography Chorus, recital, biography Ensemble Junior recital Senior recital Theory of music Thesis Voice has a further requirement of two years in piano, when the former is major subject. Violin or other orchestral instruments have the same requirement. Tuition for applied music, two lessons a week for a year, averages $60 to $65, theory courses $15 to $30. (251.) Correspondence shows that the De Pauw University gives credit towaid a degree, as well as entrance credit. The chair of music has existed for two years, and allows a maximum credit of six hours. The aim is both cultural and professional. There are fourteen teachers with something over two hundred enrolled. (439.) PURDUE UNIVERSITY ^J^ 1 ? Umversitv had no department of music. \LiDLi.) Earlham College has a department of music offering piano,.. voice, harmony, counterpoint, musical form and history of music. Applied EARLHAM COLLEGE branches are divided into preparatory, intermediate and advanced courses. Besides applied study, theory and academic study, a recital is required for graduation. A public school music course is given. Tuition in applied branches a year is $51 to $68, theory in classes $15. (253.) ILLINOIS. The Illinois Industrial University, later known as the Uni- versity of Illinois, had piano lessons as UNIVERSITY OF ILLINOIS early as 1877. Besides private work, each one attended class where pupils played in the presence of each other, and listened to blackboard demonstrations of time, rhythm, etc. Piano or cabinet organ fees were fifty cents a lesson, harmony and thorough-bass in class $5. (254. 1877-78:63.) The next year, voice lessons were added, and an assistant teacher provided. (254. 1878-79:75.) By act of the legislature, June 19, 1885, the name of the university was changed to the University of Illinois. (254. 1885-86.) In 1892, the following note was inserted in the catalog: " Music is no part of the university course of studies, but, since many desire it, competent instructors are selected by the trustees, and rooms set apart for the purpose. Private lessons in vocal music and voice culture are given, as well as class lessons." (254. 1892-93:140.) The theoretical courses listed for 1894, were history of music, theory of music including acoustics, harmony, counterpoint, figures, etc. The aim was to give a foundation for more thorough and advanced study of music. Theoretical work, but not applied 143 music, could be taken with credit in the college of literature. (254. 1894-95:33,148.) ' In 1895, music students could receive a certificate of gradua- tion by completing the entire course in piano or organ, and harmony four terms, with one year of French or German. Voice students must add to this one year of piano, and one year of Italian. All must present a thesis on a musical subject. The above changes were the result of a reorganization of the depart- ment at this time. (254. 1895-96:53,58.) The next year, applied branches were further differentiated into a preparatory and a four year collegiate course. (254. 1896-97:180.) A school of music with four teachers was organized in 1897, with courses leading to bachelor of music degree. This required forty full term credits, with a thesis on a musical subject. Requirements in studies were as follows: Counterpoint 1 semester Italian 3 hours Fugue 2 terms Physical training 2 Musical analysis 1 hour Physics 1 4/5 History of music 3 Rhetoric 2 Major study 17 The rest of the credits could be elected from the college of literature and arts. Those not working for a degree must take besides the major study, harmony four terms and one year of French or German. To this course voice students must add one year of piano and one of Italian. Special and preparatory students were required to take enough work to fill in their time. Organizations included a male glee club, ladies' glee club, mandolin and guitar club, band, orchestra and oratorio society. (254. 1897-98:135.) In 1898, the musical degree required one hundred thirty hours. Those not working for the degree were obliged to take thirteen hours of harmony, ten hours of French or German, while voice students added one year of piano and ten hours of Italian. (254. 1898-99:143.) Ear training, sight reading and public school methods were added in 1903. A teachers' certificate was given to those who finished the latter course. (254. 1903-04:145.) In 1906, the prescribed courses for admission to the school of music were as follows: Algebra 1 units History 1 unit English composition . . 1 Foreign language 3 Literature 2 Music 2 Plane geometry 1 The rest of the fourteen units could be taken from electives. The summer session listed two courses in history of music, and violin. (254. 1906-07:161,194.) 144 At present, the faculty numbers eleven teachers, and is an integral part of the university. Fifteen entrance units are required instead of fourteen. The present requirements for a musical degree are as follows: 1st year Major study 6 hours Harmony 2 Ear training Rhetoric 3 French, German or Italian ... 4 Gymnasium 1 Hygiene 1 3d year Counterpoint, canon and fugue 3 hours Major study 6 Sight singing 1 Education 3 English literature 4 Acoustics in 2d semester instead of education . . . . 1 2d year Major study 6 hours History of music 2 Advanced harmony 3 Ear training 1 Sight singing French, German or Italian. . .4 4th year Free composition 2 hours Major study 6 Acoustics 1 Minor x study 2 Recital 3 English versification 3 English and acoustics dropped 2d semester. PUBLIC SCHOOL MUSIC COURSE History of music Harmony Ear training .... Sight singing .... . 4 hours .4 2 2 Methods of teaching. Applied major study Applied minor study . 8 hours .12 . 4 Thirty-six hours are required to finish the course in public school music. A resident of Illinois pays only $12 incidental fees in the school of music; if not a resident, applied tuition is $32.50 a semester, and $9 for theoretical work. A non-resident student matriculated in another department, pays the fees of that depart- ment, and a lower conservatory fee of $25 for applied study, theory being $9 a semester. If a resident and matriculated, only the fees of the other department in which work is taken are payable. (255.) The earliest catalog (in the library) of the Chicago University shows only musical organizations. UNIVERSITY OF CHICAGO Students were invited to join the chorus, glee club, orchestra or man- dolin club. A note is made of the first annual concert, by the university glee club and mandolin clubs on March 6, 1894. A list of sixty-nine names of first ranking artists, including pianists, vocalists, violinists, quartets, etc., is given, all of whom had appeared at chapel. Five concerts had been given at the university besides these artist recitals. (256. 1893-94:302.) The following year, sixty-six artists appeared again. Musical lectures and recitals were scheduled Wednesday afternoon throughout the year. The glee clubs and chorus gave a number of programs outside the city. (256. 1894-95:380.) 145 The same number of artists appeared in 1895, as in 1894. For the first time "voluntary courses" were offered in elementary vocal music, harmony, theory and history of music. Lectures, recitals and organizations continued activity, and were put in the Divinity School also. (256. 1895-96:42,295.) Seventy-one artists appeared in 1896, other courses remaining unchanged. (256. 1896-97:144,341.) In 1897, the "voluntary courses" consisted of elementary vocal music, advanced chorus, harmony, counterpoint, theory of music and history of music. Only twenty-one artists appeared, while four church choirs had assisted at the university. The chorus gave Messiah with artist soloists. Weekly recitals con- tinued, also club organizations. (256. 1897-98:149.) The latter had increased to nine by 1899, and formed the nucleus of musical activity. (256. 1899-00:143.) A new director was secured in 1901, and the "voluntary courses" were reduced to harmony, history, sight singing, voice training and church music, the same courses and instructor being in the Divinity School. (256. 1901-02:305.) The number of organizations was reduced to four by 1902, the subject matter of these courses being the same. (256. 1902- 03:205.) The next year, the following announcement appeared in the courses of the Divinity School: Sight reading and voice training, (a) keys, scales and simple melodies, (b) exercises for freeing and placing the voice. Required of first year men. (256. 1903- 04:395.) By 1906, the only organizations were the women's glee club, band and university choir. (256. 1906-07:129.) The instructor died in 1909, and the "voluntary courses" disappeared. (256. 1909-10:208.) The Divinity School had this notice the next year: (1) Breath- ing and tone production with their relation to the speaking and singing voice. (2) Ear training and sight reading: (a) special emphasis will be placed on a thorough understanding of the rudiments of music, (b) keys, scales and simple melodies, (c) order of service, (d) hymns, anthems, chants and responses required of first year men will be given in 1911-12. (256. 1910-11:399.) The Divinity School has practically the same course at present as in 1911, and the same organizations exist that were given in 1906, a choir, glee club, women's glee club, and a band. As will be noticed, the work given is less comprehensive now than it was a few years ago. (256. 1913-14:346,485.) Facilities for the study of music have existed in Northwestern University since 1873, when the NORTHWESTERN UNIVERSITY Evanston College for Ladies, with its music department, was ab- sorbed. (257a. 1914-15:7.) 146 The university had no musical work 'of its own in 1891, since an appended note in the catalog reads to the effect that inquiries in regard to the conservatory should be sent to the director. (257a. 1891-92:7.) In 1892, harmony, simple counterpoint (canon and fugue, composition) and musical history were put in the college course. All branches of music were offered with theory in classes, applied lessons being private with fees attached. The three courses offered were the amateur, professional and the bachelor of music course. Certificates of attainment were offered at the end of various grades, except the first, if harmony had been studied at least three years. (257a. 1892-93:54,71.) In 1894, the courses enlarged sufficiently to include two harmony courses, musical form, counterpoint, double counter- point and canon, fugue and free composition, free composition and instrumentation, and musical history. The first four courses gave a normal or teachers' certificate. Certain proficiency in vocal or instrumental music gave a cer- tificate. Counterpoint, composition and instrumentation were open only to talented students studying toward the bachelor of music degree. Theory study was open to all students free and with due credit. Applied studies required fees. (257a. 1894- 95:79.) The next year was distinguished by the organization of a school of music which developed from the former department of music. The aim was to establish a thorough professional training school in the higher branches of musical study. The theoretical, practical and the creative were all provided for. Twelve teachers were employed. Two general schools were organized, a theoret- ical and a practical. The former included a normal or teachers' course and an advanced course leading to a degree. The latter course required four years, and was open to students in the liberal arts school without extra fees. It required harmony, musical form, counterpoint, double counterpoint, canon and musical history. The normal course required harmony, musical form, counterpoint and musical history. The candidate for a degree must, in addition to higher theory, compose a work for chorus and orchestra of some length, and introduce examples of five part writing and contrapuntal treat- ment of voices, also prove his knowledge of English literature, mathematics and his choice of Greek, Latin, German or French. (257a. 1895-96:228.) The 1896 catalog made note of the fact that the old-figured basses had been abandoned, and the more modern idea of har- monizing melodies substituted. The practical branches had resolved themselves into a normal or teachers' course and an artists' course. (257a. 1896-97:108,221.) The year 1897 saw the conservatory in its own building. 147 The requirements for admission into the practical school were one year of voice or two to three in instrumental study. When the preparatory work was needed, it could be supplied at the conservatory as preparatory study. (257a. 1897-98:231.) For 1900, the theory courses included the certificate course, the diploma course and the course leading to the bachelor of music degree. Practical courses offered a certificate course, diploma course and a post-graduate course. (257a. 1900-01:276.) The only change of note in 1901, was that voice culture was offered in classes. The theory courses in the literary school were perhaps slowly expanding. (257a. 1901-02:107.) 1902 introduced the academic literary musical course, which substituted one-fourth of the regular work for music. The studies included Latin, physiography, algebra, English, Grecian and Roman history, Greek, biology, plane geometry, physics, German and French. The collegiate musical course was a con- tinuation of the academic musical course, and was intended to fit for professional work. Sixty additional hours were required leading to graduate in music. The following studies were pursued : 3d year 4th year Harmony 2 hours Ensemble 2 hours Analysis 2 Score reading 1 Counterpoint 1 English literature ... 3 Canon and fugue 1 Modern language ... 4 English literature or modern language. .4 Applied music 5 Applied music 5 The course for bachelor of music called for sixty hours from the academic music course, and the first, year of the collegiate music course, one year of canon and fugue, instrumentation, free com- position and physics, and a work of some length for chorus and orchestra, introducing solos and tonal fugue. The candidate must also prove his knowledge of English, mathematics and one foreign language. A post-graduate course required further study. A certificate of performance prescribed two years' work. (257a. 1902-03:261.) Twenty-seven teachers were employed by 1903, with fifteen courses in the college of liberal arts. (257a. 1903-04:129,277.) The maximum credit for music allowed on the college course, was twenty semestral hours in 1904. (257a. 1904-05:132.) A public school music methods course was established the following year. The studies required were harmony, form, analysis, musical history, sight reading, special lectures on child voice, methods of teaching, chorus conducting, etc. (257a. 1905-06:297.) By 1907, the literary musical course had shaped itself to accommodate high school pupils especially. One-fourth of the course was substituted for music. The required school studies 148 were Latin, physiography, algebra, English, Grecian and Roman history, Greek, biology, plane geometry, physics, German and French. (257a. 1907-08:279.) In 1910, the public school music course increased to two years with a diploma. It was also suggested that a student prepare himself to teach other branches in order to improve salary and efficiency. The schedule was so arranged that these students could go down to the Chicago Art Institute to study drawing. The work put in for two years was as follows: 1st year 2d year Harmony (form and analysis) Harmony History of music History of music Sight reading (vocal) Form and analysis Public school methods Chorus and choir training English High school methods Voice or piano Psychology and pedagogy Physical culture (optional) College or academy study Voice or piano Physical culture (optional) A two year course in normal piano methods was offered in this same year. (257a. 1910-11:265.) The year of 1911 offered a bachelor of music degree in applied music, as well as for a course of theory and harmony. (257a. 1911-12:339.) A normal course in vocal music was added in 1912. Public school music extension as introduced in 1911 was continued, and had direct relation with the teaching in Chicago public schools. (257a. 1912-13:321.) German, French and Italian language and dictation courses were placed among the courses in theory for 1913, each being especially adapted to the needs of the singer. (257a. 1913-14: 316.) At present, the faculty numbers thirty-six, with several minor additions. The courses, which are very extensive and modeled after those in the college of liberal arts, are as follows: Course in applied music leading to bachelor of music, course in theory and history of music leading to bachelor of music, post-graduate course, literary musical course, course in public and high school music methods, normal course in vocal methods. Entrance admission and completion of the course gives a diploma in music. Completion of the musical course without entrance requirement entitles the candidate to a diploma for musical proficiency. 149 The schedule of studies for all students is as follows: 1st year 2d year Solfeggio Ear training and dictation Ear training, dictation and rudiments History of music History of music Harmony Harmony Keyboard harmony Keyboard harmony Form and analysis Applied music Applied music Solo classes and concerts Solo classes and concerts College or academy study and physical College or academy study and physical culture (optional) culture (optional) The third year is the same as the second, except that counterpoint replaces keyboard harmony. 4th year 4th year (cont'd.) Ear training and dictation Vocal composition Form and analysis Applied music Counterpoint Solo classes and concerts Instrumental composition College or academy study and physical culture optional Special studies for each branch of applied music are added each year, but not required of the entire music body, such as language diction for voice students, or ensemble for violinists. The bachelor of music course in theory and history of music is'as follows: 1st year 2d year Ear training and dictation Ear training and dictation History of music Form and analysis Harmony Counterpoint Form and analysis Instrumental composition Counterpoint Vocal composition College study College study Ensemble and physical culture optional Ensemble and physical culture optional 3d year 4th year Counterpoint Instrumental composition Instrumental composition Vocal composition Vocal composition College study College study Ensemble and physical culture optional Ensemble and physical culture optional In addition to the above course, the candidate must offer one-fourth the total number of credits in the liberal arts college, one study being general physics. A composition assigned by the faculty must be scored for full orchestra, or the student must present an original piece of work of the same character. The public school music course is two years in length, and practically the same as the one outlined in 1910. The normal piano and voice courses require three years each. Forty-one courses in theoretical study are listed, which do not include those in applied branches, except in ensemble. Since* 1913, study has been offered in all branches during the summer, a specialty being made of normal piano methods. Fees for applied branches, two lessons a week for nine weeks, are as follows: Piano $19 to $45, voice $21 to $50, violin $21 to $37, and organ $25 to $37. The rates for special students are 150 somewhat higher than those which apply to regular students. (257.6 2 The enrollment in music and the total college attendance since the establishment of the school of music are as follows: School of music College total School of music College total -96 70 3,016 1905-06 363 ^43 1896-97 101 2,113 1906-07 328 1897-98 112 2,019 1907-08.. 4.036 1898-99 114 2.0>4 1908-09.. ..309 "90 1899-00.... .149 2,344 1909-10.. 33> 4,487 1900-01 1 L\24tf 1910-11.. 3S4 -.T 1901-02 218 2,414 1911-12 378 1902-03 268 2,731 1912-13 440 4,787 1903-04 ; .S31 1913-14 474 MM* 1904-05 344 -31 In the fall of 1913, the Lombard Studio of Vocal Art. Science and Education of Chicago, removed to Lombard College, as a result of LOMBARD COLLEGE affiliation with the latter in 1912. It consists of a rounded : em of vocal education. The work is divided as follows: 1st year: Voice building, correct poise and development of body, breath- ing, individual vocal work, elimination process, corrective work, construction work, art of breathing, diction, tone attack, intervals, songs. Supplementary studies are history of music, harmony, ear training, and rhythm, French, German or Italian, physical expression, development of gymnastic and aesthetic dancing, interpretive reading and action songs. 2d year: Equalization of vocal sounds, artistic breathing, execution, artistic tone attack and technic, physical expression, advanced interval work, advanced song work. Supplementary studies are language, musical analysis, ensemble, criticism. class song, analysis and action song classes, creative classes, dancing and interpretive songs. 3d and 4th years: Artistic voice development, perfection of inherent qualities, artistic execution, artistic breathing, artistic diction, style and delivery, artistic interpretation of songs. - stematic courses are given in piano, violin, art and science of teaching, and theoretical branches, the aim being a balanced, well rounded preparation. The college gives the A. B. degree to those majoring in music, upon a basis of full equality with other studies. The coarse is as follows: 1st year 2d year Applied music 4 hours Applied music : 4 hours Harmony 2 Harmony 2 Ear training 2 German or French 4 Musical historv 2 Public speaking . . 2 English 2 Elective Physical education 2 3d year 4th year Applied music 4 hours Applied music 4 hours Theory - Educational psychology Language 4 Normal course History of education 3 etive ..4 Elective 4 2d semester recital and re- * places psychology 4 The fees for private lessons in voice are $90 a semester, three in a class $45, four $36, six in a class $25, piano $25, class of two with daily lessons $25. 151 Hedding College, a Methodist school, has a conservatoty of music em- ploying five teachers. The course includes piano, voice, HEDDING COLLEGE violin and theory. Graduation in piano requires six years from the beginning of student's piano lessons. In addition, elementary theory, harmony, counterpoint, musical history and sight reading are required. A teachers' certificate is given to those who finish the fourth year in piano, with harmony and sight reading. Graduation in voice requires four years of voice, three of piano, and theory, harmony, sight reading, musical history, recital, French and German. The bachelor of music degree was conferred in June, 1908. The tuition, two lessons a week for a year, piano is $14 to $57, organ $14 to $64, voice $38 to $47. The attendance in musical courses is one hundred thirty-three, for all ' departments it is two hundred twenty. (260.) Monmouth College has a conservatory with seven teachers. A graduate must have a good English education, and one year's MONMOUTH COLLEGE work in college in modern languages, or English, with harmony, counterpoint or analysis, theory and history of music, a recital, except in the teachers' course, where special work is done for teaching preparation. Completion of the junior year gives a certificate, if harmony and interpretation have been taken and a recital given. Piano requires four years for graduation, organ three. A candidate in voice must complete harmony, history of music, biograph- ical history, interpretation course, recital, and is advised to take analytical harmony, as well as French and German. Three years of piano are necessary for graduation in voice. College credit to the amount of eight hours may be taken from harmony, counterpoint, history of music, interpretation and analysis one hour each. The attendance upon musical courses in 1914 was two hundred thirty-six, total college enrollment four hundred thirty-eight. The tuition in voice and organ, two lessons for a year, is $54 to $80, piano $39 to $80, harmony in class $28. A course in public school music is given in addition to the above. (261.) James Millikin University has a school of music employing eight teachers. MMES M.LL.KIN UNIVEKS.TY ^kta&"K * "^^ Instruction is given in piano, voice and violin. The course is divided into elementary, academic and collegiate. A diploma is given to a student who has been in the collegiate department one year, and has completed the required work in any department. A certificate is given for specified work in the collegiate school. Teachers' normal department in piano requires two years and gives a teachers' certificate. The literary musical course is the regular college course with a substitution of one-fourth music. Harmony, sight reading, ear training and history of music are free. The piano tuition for a year, two lessons a week, is $36 to $128, voice $72 to $128, violin $64. Applied music in classes of three or four is much less. The musical attendance in 1907 was four hundred eighty-seven, total college enrollment being seven hundred fifty-six. (262.) The department of music of Rockford College employs five teachers, and offers courses in piano, organ, violin, voice and theory. ROCKFORD COLLEGE The latter course includes sight singing, teachers' fundamental training course, two years of practical teaching, harmony, counterpoint, eanon and fugue, history of music and choral training. Entrance requirement is a high school graduation, the college course being as follows: 152 1st year 2d year Piano, two hours practice Piano, two hours practice Harmony Harmony English English French or German French or German 3d year 4th year Piano, three hours practice Piano, four hours practice Harmony Counterpoint History of music Elocution Sight singing Voice Voice Elective, four hours History of art All graduates take piano and voice, whether majoring in piano, voice, violin or organ. The two year certificate course requires a high school education and technical training equal to the sophomore year. The course includes for first year, applied major, fundamental course, sight singing, French or German and English; the second year requires applied major, fundamental course, harmony, history of music, history of art, voice and elocution. The college has only twenty enrolled in music, two hundred six as the total attendance. (263.) Lake Forest College offers musical courses in Terry Hall, a girls' prepar- atory school and junior college, which is affiliated. LAKE FOREST COLLEGE Piano, voice, violin, harp and harmony are taught. The tuition for a semester in piano is $50 to $90, voice or violin $50. (264.) Carthage College has courses in music. For voice graduation, a high school education is necessary, with a year of French, CARTHAGE COLLEGE German, harmony, history of music, and two grades in piano. Courses are given in piano, organ, chorus, ensemble, normal work, harmony two years, and history of music. Piano and v6ice tuition are each $27 a semester, chorus work $3 a year, harmony $18 a year. (265.) Illinois Wesleyan University has a school of music about twenty years old. Courses are offered in piano, voice, ILLINOIS WESLEYAN UNIVERSITY violin, 'cello, theory, counterpoint, com- position and pedagogy, under thirteen teachers. Candidates for teachers' certificates or teachers' diplomas are required to take a carefully prepared normal course. No degrees are given. Tuition for violin and voice for ten weeks is $20 each, theory in class $5 for ten weeks. For entrance admission, history of music may be offered as elective to the amount of one-half unit credit. Two hundred ninety-four are enrolled in music, six hundred seventy-eight in the entire college. (266.) Ten teachers are employed in the Knox College conservatory, which was established in 1883. It has complete courses in all lines. KNOX COLLEGE Diplomas require a high school graduation and sixty-eight hours of study in addition. The bachelor of music degree requires ninety-four hours, as follows: Harmony two years 8 credits Senior recital and graduation . 10 credits Counterpoint 2 Minor study, preparatory Ear training 4 certificate 10 Musical history 4 Free composition and Interpretation and ensemble . 1 analytical harmony 6 153 Major study, preparatory Free composition 6 department 10 Counterpoint, canon and Major study, intermediate fugue 8 department 13 Regular college course 6 Full graduation in minor .... 6 A public school music course is outlined "on an educational plan." The fees are 75 cents to $2 a lesson. (267.) Augustana College and Theological Seminary has a conservatory estab- lished in 1887, and employing eleven teachers, AUGUSTANA COLLEGE AND the aim being to obtain "a broad intellectual THEOLOGICAL SEMINARY education for the music student." One-half to one unit may be offered as an elective entrance credit. The teachers' certificate course requires five years, with three literary subjects each year. The major study may be piano, voice, violin or organ. The theory course includes harmony, counterpoint, form and analysis, orchestration, history of music, sight singing, Italian, French and German, one year of each, or two of one and a year of another language, ensemble accompaniments, psychology and normal work. All these courses are free to the music student except harmony, counterpoint, and applied branches. Two or more private lessons of the latter entitle to three theoretical subjects, and three studies in the academy, without extra charge. A diploma is given in any applied branch, including teachers' course. The following studies are required in the teachers' course: 1st year 2d year Piano Piano Theory Theory Arithmetic Christianity United States history Geography English English 3d year 4th year Piano Piano Theory Theory Christianity English English History Modern language or Latin 5th year Piano and theory Voice, organ or violin have three years each, being a duplicate of the 3d, 4th and 5th years as outlined above, in each case making the necessary sub- stitution for the major course in applied music. Public school music offers the following course: 1st year 2d year Notation Methods Ear training Practice teaching Sight singing Ear training Child voice Harmony Harmony Pedagogy and psychology History of music Art of conducting Elementary psychology in college Essentials Rote songs Melodic construction Chorus Sight singing Piano and voice History of music Piano and voice A maximum of ten credits are allowed the college students toward the A. B. degree. 154 The tuition approximately for a year in piano or organ is $54 to $98, voice $90, violin $72 to $90, classes in theory average $28. The musical enrollment was two hundred sixteen for 1914. (268.) MICHIGAN. In 1871, Professor Frieze "introduced choral music into chapel exercises, a feature which was highly UNIVERSITY OF MICHIGAN appreciated by the students." Jn 1880, the University of Michigan put in music, and, at the same time, a "school of music" was estab- lished in Ann Arbor, which, "although it has no direct connection with the university, receives its aid and encouragement in every way." The same head instructor served in both capacities. (270. 1880-81:50.) The early courses consisted of science and practice of choral music and harmony, the same courses being listed in the science and arts school as electives. (270. 1880-81:50.) In 1881, a second year of choral music was added, three semesters of harmony and simple counterpoint. A teachers' diploma was offered to those who completed two full courses in science and practice of choral music, and one and three-fifths courses in harmony. A diploma could be procured by the com- pletion of two and four-fifths full courses in harmony, and one and three-fifths courses in science and practice of choral music. The candidate must be able to play a plain four voice fugue. A full course was equivalent to five exercises a week in class, laboratory or lecture for one semester. (270. 1881-82:55.) A ladies' chorus and a male chorus was put in by 1884, the theoretical studies numbering ten. (270. 1883-84:62. 1884- 85:64.) Composition and instrumentation could be studied if desired in 1889. (270. 1889-90:58.) Critical analysis of musical forms, musical aesthetics, fugue, history of music, advanced pianoforte or organ playing (the last course open only to candidates for a degree, or those who showed great musical ability) were the list of courses added in 1890. Piano study could be taken only by those able to play master- pieces of the grade of Beethoven Sonata Op. 26, theoretical work being required in connection. (270. 1890-91:59.) Musical criticism was added in 1892 (270. 1892-93:72.), music in the ethical relations in 1894. Summer courses were added for the first time in 1894, and consisted of public school music, harmony and history of music. (270. 1894-95:76,131.) Private lessons in organ were offered the next summer. (270. 1895-96:218.) There were seventeen courses by 1897, but with not much demand, especially those leading to higher composition, since the years following listed the same but omitted the teaching. 155 Public school music was listed in the winter course in 1902. (270. 1897-98:73. 1898-99:73. 1900-01:79. 1901-02:79. 1902- 03:79.) In 1905, the catalog states that "under conditions credit may be obtained in the Ann Arbor school of music toward university credit." This was not to exceed two hours a semester, and could be given in advanced work in piano, organ, violin, voice, "under conditions to be learned upon application." (270. 1905-06:45, 90.) In 1909, a seminar course was added for discussion of import- ant problems in history, theory and criticism of music, also one on the evolution of the modern orchestra. The course in critical aspects aimed now to deal with the .sociological bearings of the art. (270. 1909-10:131.) By 1912, the division of courses had fallen naturally into, (1) technical courses including canon and fugue and advanced applied music, (2) historical and critical courses. The last division included creative listening, history of music, music in its critical and ethical aspects, evolution of musical instruments and the seminar. (270. 1912-13:169.) The University School of Music of Ann Arbor is the product of the University Musical Society and was organized in 1880, at the same time that the chair of music was placed in the uni- versity. Its board of directors includes the president of the university, several instructors, and other prominent citizens. The head of the school of music is also professor of the musical department in the university. So, while not a department of the university in a legal sense, it is intimately connected, and has a curriculum in accordance with university ideals. This relation has always existed since the school of music was organized. Practical music taken at the school of music receives regular university credit, if it is sufficiently advanced. The aim is to build the musician's life upon a broad and thorough education, under the firm conviction that the musical taste of all should be developed to the highest stage of artistic ability. To this end, the fees are put to the lowest limit of actual cost. The teaching staff includes fifteen teachers of considerable ability. Courses are offered in voice, piano, organ, violin, violon- cello and orchestral instruments, orchestra and ensemble playing, solfeggio, harmony, counterpoint, canon, fugue, composition, conducting, history of music, analysis of music, art and science of teaching, public school music methods, and a course in draw- ing in connection with school music. The diploma is granted to those who have attained skill in performance, and have an accurate knowledge of the theoretical, historical and critical aspects of music as an art. The artist diploma is granted to those who complete work in two distinct 156 lines, demonstrative and theoretical. The demonstrative con- sists of enough applied study to give a program in public from memory. The theory work consists of class lessons in solfeggio, harmony, counterpoint, history, analysis, composition and en- semble work. A normal course has the same requirements as the artist course, except the program is given before the director and teachers instead of before the public, and a certain amount of time is given to the pedagogical side of the work. The course was established, first, to supply the need for well equipped teachers; secondly, some through nervousness or lack of voice or other reasons, still make excellent teachers, and are deserving of this recognition. (272. 1913-14:10,14.) The public school music course covers two years, and includes two years of methods, solfeggio, sight reading, history of music, each being one year, singing two years, piano one year, with experience teaching during the senior year. Beginning with 1914, a candidate must have a high school education in order to take a certificate. In response to demands from schools for the com- bined subjects of music and drawing, a department of drawing is supported to meet this request. (272. 1913-14:23.) Graduates from either or both of these courses are granted life certificates, without further examination. In all the music courses, the studies are purely musical, no academic work being expected even for the public school music course. (272. 1913-14:27.) Reciprocal relations exist between the school of music and the Ann Arbor high school, in which music may be studied each year for four years with credit. Any of the courses may be combined with music in this way. The high school music course will not admit to the university, since only in exceptional cases can the work be done in less than five years. (272. 1913-14:28.) Brief mention should be made of the choral union with its membership of three hundred, which came into existence as the result of an interest in choral work, stimulated by a successful concert given in 1879. As a result, the University Musical Society was founded in 1880, under state laws, with the object of establishing and conducting a school of music, a symphony orchestra, and a series of concerts. From the first concert of the union to the reorganization in 1889, fifty concerts were given. The final concert in the festival series of 1913 to 1914, was the two hundred seventy- third. The first annual May festival was held in 1892. Only Worcester and Cincinnati have a larger number of performances to their credit. During these years, the choral union has been assisted many times by the best talent in orchestral lines, artist soloists and string quartets, while the finest works have been presented. (272. 1913-14:30.) An unusually valuable collection owned by the University of Michigan is the Stearns' musical instruments collected by Mr. 157 Stearns and presented to the university. It is a scientific collec- tion of over a thousand instruments, exhibiting the different forms of percussion, wind and stringed instruments, with a view to showing the evolution. A course of lectures is given upon the evolution of musical instruments, while the collection is available for the purpose of investigation and special work on the solution of problems. (272. 1913-14:67.) No entrance credit is allowed for music in the University of Michigan, but it counts toward college degrees. The university supports two instructors, the school of music thirty. From one hundred fifty to two hundred enroll in the university musical courses, about four hundred fifty in the conservatory. (442.) The Olivet Conservatory of Music was established in connection with Olivet College in 1874, for the purpose of combining OLIVET COLLEGE musicianship with general intellectual culture. The bachelor of music degree is given to those who have completed the work of the regular courses, one of which must be piano, the second may be organ, violin or voice. Diplomas are granted for the completion of the single courses, piano, or organ with two years of piano, or violin with two years piano, or voice with two years of piano. History of music and three years of theory are required of all graduates. Candidates for the musical degree must meet entrance requirements, as well as the necessary literary studies. A graduation recital is required. The studies required for a diploma are history two units, natural science one unit, algebra one unit, German two units, French one unit, English four units, Bible one-half unit. Theory work covers three years and includes sight reading, history, ear training, harmony, advanced harmony, harmonic analysis, and counterpoint. In compliance with the state laws, a special course of study is arranged to prepare public school music teachers. The first year includes rudiments, harmony, ear training and voice, the second year has methods, practice teach- ing, harmony, harmonic analysis, musical history and voice. If taken in combination with drawing, it requires three years to finish the course. Three units of English are required. Electives in music may be chosen for A. B. degree not to exceed four units, of which not over two units may be taken in choral or choir training, and not over two in history, ear training, harmony, or counterpoint. The tuition in voice or piano, two lessons for a semester is $25.50, one private lesson in orchestral instruments $19.75, organ two lessons a week $27.50, class lessons in harmony $7.50, public school music $7.50.. (273.) Hillsdale College has a department of music supporting four teachers. The students in this department are advised to select HILLSDALE COLLEGE a variety of subjects in the collegiate department, in planning their courses. Eight hours in harmony and counterpoint, and eight hours of applied music singly or a combination, may be offered toward the A. B. degree in the liberal arts school. Many of the academic students avail themselves of this opportunity, on account of the cultural value, and the life long satisfaction derived. Diplomas are granted to those who complete either of the full courses with a recital, and harmony, counterpoint, form, and history of music as theoretical requirement. Piano includes five grades, voice four, violin five, while an organ course serves to prepare for church positions. A two year course in public school music is offered. The requirements for the normal diploma are practically the same 158 as those for the artist diploma, which equals a four year course of sight singing, harmony, musical history, piano, voice, German Lieder, oratorio and opera, analysis, with the distinction that the diploma for school music and drawing need only embrace two years of preparation, and the recital may be private before the committee, instead of public. Those who enter this course must have had considerable musical training beforehand, and a high school education. No provision seems to be made for music as an entrance subject. Of the forty-two electives in college, twelve may be in music, fine arts, oratory and expression, household economics or commercial study. Theory of music, chorus and choir training are free, harmony and counter- point $9 a semester, lessons in applied music averaging from $1 to $1.60 a lesson. The enrollment in music in 1913 was one hundred sixty-nine, total of all departments four hundred ninety-seven. (274.) Alma College has a school of music offering all branches, including public school music. Voice, piano and violin include five grades, ALMA COLLEGE organ three. Besides theory work, German, French, history, science and college English are required in order to graduate in music. The number enrolled in the school of music averages one hundred twenty- three, in the entire college three hundred ten. Tuition averages $22 to $25 for the applied branches," $4 to $8 for theory 'courses. (275.) Kalamazoo College has a year each of harmony and KALAMAZOO COLLEGE history of music listed in the courses. (276.) WISCONSIN. The University of Wisconsin gave recognition to music teachers in the years of 1876 to 1884. UNIVERSITY OF WISCONSIN There were classes meeting once a week. One was devoted to the elements of music combined with reading vocal music, and admitted without restriction. The second class was devoted to the practice of glees, choruses and part songs. Those who entered were expected to read plain music. Private lessons in voice, piano and harmony were open to any of the students pursuing a regular course of study, who made application and paid the necessary fees. The instruction in voice and piano was intended to be thorough and progressive. (277. 1884-85:78.) Mention is made in the 1888 catalog that harmony could be taken as an elective, counting two-fifths credit during the first two terms, with two recitations a week. (277. 1888-89:120.) An assistant was added in 1892. (277. 1892-93:85.) In 1893, the courses had expanded to musical theory and choral practice, elementary harmony, advanced harmony and counter- point. (277. 1893-94:104.) In 1894, by order of the board of regents, a school of music was opened with eight teachers. The aim was to furnish in- struction in all branches of theoretical and applied music. The listed subjects included organ, piano, voice, orchestral instru- ments, mandolin, guitar, banjo, musical theory, choral practice, harmony and counterpoint. Applied lessons were private, 159 theory lessons in class. University students could take any of the classes as elective and receive credit. There were two general courses, a collegiate course with the same admission requirements as the general courses in the college of letters and science, with some musical proficiency. A graduate diploma could be secured in three years, but four were recom- mended, allowing time for general studies. The second or academic course was open to those who did not wish to enter the university toward graduation. Upon the payment of the usual fees, these persons were admitted to the music classes, but not as candidates for graduation or diploma. A certificate of excellence was given in this course after not less than three years of study. The piano requirement for entrance to the collegiate course was the grade of Haydn sonatas, there being no requirement to enter the academic course. The work of the latter led up to and overlapped that of the collegiate course. After reaching the proper stage, a student could be transferred or not, as he desired. The last three years were identical in both courses. The university further supported an orchestra, band and choral union. The tuition in applied music for the semester ranged from $18 to $25 for private lessons, while classes of three in piano could be had for $18. Theory courses were free. (277. 1894- 95:210.) For 1905, the course outlined in the college of letters and science were as follows: Musical theory and practice . . 2 hours Double counterpoint and fugue .3 hours Elementary harmony 2 Composition 2 Advanced harmony 3 History of music 2 Advanced piano, voice, violin and organ were open to juniors and seniors only. Credit could not exceed ten semestral hours. Public school music counted as two-fifths credit, advanced study in orchestral music as one hour. Theoretical courses were free to students, and open with credit to all but freshmen; from others a fee of $10 a semester was exacted. Composition and counterpoint were ranked as graduate work in the school of music. (277. 1905-06:212,335.) The following year, a course was put in on principles of musical education. (277. 1906-07:213,404.) A summer course included elementary and advanced public school music, choral music, each two hours, conference "one hour and orchestra. (277. 1907-08:459.) The following year, history of music took the place of conference and orchestra in the summer course, which was again replaced by musical appreciation in 1909. (277. 1908-09:469.) Instrumentation and ensemble were added in 1909, to the courses in the school of letters and science. The academic 160 department of music was abolished also, in order to bring the music department and the college into better accord. This forced all music students to meet college entrance requirements, although specially talented students could enter who were not quite able to meet the standard. Credit in theoretical work to students not in the music course was limited to twenty. No fees were required for these courses, which were elective for all but freshmen. No entrance requirements were necessary in organ of itself; voice required about fifty lessons of concord, piano required performance of Mozart sonatas. Graduation in music required the following subjects, being practically the present course: 1st year Applied music 2 credits Elements of music 2 Harmony 2 Ear training and sight reading 1 English 3 French, German or Italian . . 4 Physical training Musical form, 2d semester . . 2 3d year Applied music 2 credits Counterpoint 2 Physics 2 Musical appreciation 2 English, French or Italian literature 3 Elective 4 Masterpieces of music, 2d semester 2 Electives, 2d semester 6 2d year Applied music 2 credits Advanced harmony 2 Ear training and sight reading 1 History of music 2 French, German or Italian . . 4 English 3 Elective 2 Physical training 4th year Applied music Instrumentation Ensemble Public speaking Elective Thesis or recital . . . . . .2 credits ....2 1 ....3 ....5 ..2 2d semester same Voice students must have two years of piano and were exempt from ensemble, but substituted choral, counterpoint to be omitted. Organ candidates were required to take piano two years, violin students must meet the same standard of piano playing. One hundred twenty hours were required for graduation. Elective could be in music or in other university departments. A supervisors' course in school music required two years, but could be done in one by those who had previous musical training. The studies required were methods, practice teaching, conducting, 'harmony, history of music, sight reading, ear train- ing, musical appreciation, masterpieces of music and elementary education. Public school music and appreciation of music were further listed as university extension or correspondence courses for the first time. (277. 1909-10:194,398,422.) 161 In 1911, public school music candidates were advised to devote some time to the study of school drawing. (277. 1911- 12:461.) By 1912, the courses of study in the school of letters and science include theory of music, sight reading, ear training, elementary harmony, public school music, advanced harmony, counterpoint, double counterpoint, canon and fugue, musical composition, instrumentation, musical appreciation, masterpieces of music, history of music, applied music, ensemble, orchestral music and choral music, all on a university credit basis. (277. 1912-13:231.) The summary of attendance for the years since the oganization of the school of music is as follows: Music Total enrollment student attendance 1895-96 181 1,598 1896-97 145 '1,730 1905-06 209 3,571 1906-07 191 3,659 1907-08 203 4,013 1908-09 305 4,538 1909-10 143 (incomplete) 4,947 1910-11 316 5,538 1911-12 416 5,936 1912-13 560 5,523 1913-14 644 The late catalog of the conservatory lists sixteen teachers upon the faculty. An important change is that during 1914-15, courses are shaping toward requirement for bachelor of music degree. The collegiate courses are equivalent to those outlined before. It will be noted that eight courses are outlined in public school music, and that through combination with other studies are tending to lengthen to three or more years. The reader will recall that the table of supervisors, given in the first part of the thesis, showed this feature to be very prominent in the North Central Division. The college section shows this tendency very strongly in all those states. Wisconsin suggests drawing, manual training, physical education, domestic science and domestic art as available minors. Properly prepared students in other departments can arrange to take public school music with a total of at least sixteen hours, which will entitle them to special certificates to teach music. Some of the phases studied are the psychological and pedagogical aspects, supervisors' problems, place of music in the schools of a democracy, and sources of material, with practice teaching. A strong feature of the school is the extension movement or correspondence study department. Nine courses are offered with approximate credit, and cover subjects in elementary music, 162 harmony, public school music, appreciation of music, history and community music. The latter phase is peculiarly interesting, since it deals with the solution of the problem of diffusing musical activity in local centers, radiating from a university. Wisconsin purposes to institute a system of "exchange con- certs" with representative universities and schools of music, and has already done so to some extent. Tuition for all applied branches two lessons a semester is $36, theoretical subjects are free to residents, non-residents $50. (278. all ref.) Beloit College employs one instructor. Courses are given in elementary music, harmony, counterpoint, history of music, apprecia- BELOIT COLLEGE tion of music and public school music. The courses in music can be elected only by consultation with the head of the department. (279.) Lawrence College has a school of music. Four year courses are given in vocal and instrumental music. The music courses com- LA WHENCE COLLEGE pleted give a certificate, the degree course leads to bachelor of music degree. The department aims to prepare for concert work, music teaching, and public school music teaching. (280.) Ripon College has a school of music with five teachers. The aim is to provide a sound intellectual training, with symmetrical RIPON COLLEGE development of the musical faculties. All the work is planned to this end. Preparatory courses are arranged to meet the needs of those below the college requirements. Applied music embraces a four year course. in piano, organ, violin and voice. The theory courses include elementary theory, advanced sight reading, musical appreciation, harmony, counterpoint, and musical history. A two year course in public school music includes the following studies: 1st year 2d year Rudiments Methods of teaching Advanced sight reading Practice teaching Harmony Harmony Musical history Analysis of musical form Ear training Musical appreciation Voice culture Pedagogy Voice or piano Candidates for graduation must have a high school education, and as college studies, history two units, science one unit, algebra one unit, German two units, French one unit, English three units, besides giving a public recital. The requirements for the bachelor of music degree are two applied branches, one being piano, three years of theory and history of music, and four hours of college study each semester for four years. Beyond this, the student may elect his work. Private pupils are recived -without connection with the university. The tuition for piano, voice and pipe organ two lessons a semester averages $40 to $45, violin $20. Classes in elementary theory and choral are open to all students free. Harmony fees are $12, public school music $10. The total music enrollment in 1913 was eighty-three, for the entire school two hundred thirty-one. The maximum credit allowed toward an A. B. degree is twelve hours. Theory and history of music are credited as college electives. (281.) Marquette College records a glee and a mandolin club, orchestra and a band, but no teacher being designated, nor are there MARQUETTE COLLEGE any musica l cou rses. (282.) 163 MINNESOTA. As early as 1897, the following item appeared in the catalog of the University of Minnesota: UNIVERSITY OF MINNESOTA "Students who are sufficiently ad- vanced in music are allowed, under certain conditions, to take instrumental or vocal music through the junior and senior years, provided no student shall receive over six credits in music and fine arts together. "A pianist must be able to play Czerny's Velocity Studies, a vocalist must read with fair readiness, and have a good enough voice to justify, the least practice being eight hours, including lessons, the character of the work to be reported on each term. The lessons are to be taken in the Northwestern Conservatory and paid for by the student. Special rates are made to university students." (283. 1897-98:86.) No change occurred until 1910, when the six hours' credit mentioned above could all be in music, art being omitted. (283. 1901-02:94,204.) The following year, the credit was reduced to four hours. (283. 1902-03:88.) The aim of the courses was to acquaint students with the laws underlying composition, and to enable them to arrive at the keenest perception and appreciation of masterpieces. A fee of $2 was attached to either of the first two courses, the second and third together being listed at $5, third alone was $2. Those who were music specials were obliged to take one college study. (283. 1905:95.) The following year, music specials were obliged to present entrance credits, and must register for harmony and piano with six hours in another department. The courses in college included harmony, counterpoint, musical form and free composition, pianoforte in class or private, choral culture, and history of music for juniors and seniors, fees $4. The first three courses gave two hours' credit each, one piano lesson a credit and a half, two piano lessons allowing two credits. History of music gave one credit. A certificate of proficiency was offered for completion of the theoretical courses, two years of piano study and ability to play a concerto, and in addition, must show decided musical talent. (283. 1906-07:51,79,125.) A glee, mandolin club and a band were maintained by the students. The only new requirement in 1908 was that twelve credits were exacted, not including pianoforte and choral training. Three to six hours' credit were allowed in each piano course, at the rate of $32 to $34 a course. (283. 1908-09:185.) In 1909, the statement was made in the catalog that the music department offered a minor, but not a major. The course introduced no change. (283. 1909-10:205.) 164 At present, the university has a four year course in music leading to an A. B. degree. Of the one hundred twenty required hours for this degree, fifty-four to fifty-eight must be in other departments than music. Six to nine hours a semester apart from music is the maximum allowed, with twelve to fifteen hours practice. The outlined course for A. B. degree in music is as follows: 1st year 2d year Applied major Applied major Harmony Counterpoint Rhetoric Chorus or orchestra Foreign language Acoustics History 2d semester, experiemental psychology Foreign language and English literature, or beginning for- eign language 3d year 4th year Applied major Applied major History of music Musical composition or Musical composition or analysis Canon and fugue Chorus or orchestra Chorus or orchestra Modern language English literature English literature or history Elective Elective (283. 1913-14:36.) Correspondence shows that entrance credit in music is not given, nor does the subject rank with other studies. There are five instructors in the department. A normal training department for the training of public school music teachers exists in the school of education. The number enrolled in the music course is thirty-four. A very interesting idea of the director of music is the desire to organize choruses in every town in the state. (444.) Macalester College has a conservatory of music for professional and amateur students. The aim is to combine music MACALESTER COLLEGE and college work, and thus create a taste for great art in music. The courses include piano, voice, organ, violin, other stringed instruments, harmony, counterpoint, composition, public school music, history of music and analysis. The end of the second year offers a certificate. Graduation requires three years of major study, advanced harmony, composition, form, etc., and a recital. A piano post graduate course is offered. A public school music department has just been established, normal in character, and one year in length. Music may be elected in the third and fourth years, with two hours' college credit each semester. The piano tuition for a year is $28 to $45, voice $54 to $90, violin $36, harmony $12, public school music in class $15. (284. 1909:60.) The enrollment in music was forty-nine in 1910, total college attendance being three hundred ten. (284. 1910:37,97.) Gustavus Adolphus College has a conservatory. Piano is offered in preparatory, intermediate, junior and senior GUSTAVUS ADOLPHUS COLLEGE courses, each requiring one to two years, the last three leading to a certificate in each 165 separate division of piano study. A graduate course of one to two years is added to these, and offers a diploma. Organ has practically the same courses as piano. The voice course requires voice, history of music, harmony, musical form, analysis, English, German, sight singing, ear training, chorus and piano at least one year. The course requires two to three years of study. The violin course requires en- semble and orchestral practice instead of piano. The literary requirements for graduation are a high school education. The piano tuition for a semester is $23 to $68, organ or voice $68, theory $18, elementary harmony and history of music being free. Music enrollment is eighty-three, that of the entire college eleven hundred thirty-eight. (285.) St. Olaf College (Lutheran) has a school of music, courses elective, and receive the same credit as similar studies in other depart- ST. OLAF COLLEGE ments. Piano, voice and violin equal a four year standard course. Public school music was established in September 1912, with the aim of preparing teachers or supervisors. The course requires two years' study, and includes primary methods, song, games, care of child voice, grammar and high school methods, harmony, counterpoint, musical analysis, history of music, sight singing, interpretation, chorus, conducting, psychology of singing, psychology and pedagogy, English, observation, and practice, private lessons in piano or voice. A teachers' certificate, honored by the state, will be given for the two year course. Music students in the preparatory course are obliged to take five hours in the academy, or four in college. Graduates must give a recital in both the junior and senior years. The music courses listed in the college department are harmony, advanced harmony, musical analysis, history of music, simple and double counterpoint, canon and fugue, advanced history of music, composition, instrumentation and orchestration. Eight semestral credits may be obtained for applied music, twelve for theoretical study. Violin tuition a semester is $45, piano $25 to $45, voice $36 to $45, public school methods $10, theoretical branches $15. The last music enrollment was one hundred sixty-five, college total five hundred eight. (286.) Carleton College, a Congregational school, has a conservatory. Four grades are offered in piano, voice, violin and organ. For CARLETON COLLEGE bachelor of music, the candidate must have completed a high school course. The major study must be selected from the above list, as well as a minor. Voice graduates must take piano as a minor. Four years of theoretical work are required in harmony, counterpoint, canon, fugue and composition. Two years each of French and German are prescribed in the voice course. The total number of hours for graduation is one hundred twenty hours, twenty-three being theoretical music study, an applied major of eighty hours, or, if voice, only forty hours, applied minor sixty hours, the rest of the credits to be selected from college studies. A recital and a thesis upon some subject closely related to music are required. The candidate must also score for orchestra, a composition assigned by the faculty (possibly a movement from a Beethoven sonata) or an original composition for chorus, soli and orchestra may be substituted. A special normal course in piano is offered for teachers of considerable experience, in order to perfect their knowledge of modern piano methods. A teachers' certificate is given for the completion of the first and second grades in major subject, with two years of harmony and one year of teaching ex- perience. The course requires a recital from memory and a thesis. Voice tuition for a semester is $72, piano $54 to $63, violin $54, harmony, counterpoint and composition $14, history of music $4. The last music enrollment was eighty-two, total college attendance foui hundred thirty-two. (287.) 166 Albert Lea College has a music department offering piano and voice. ATRPM?T TT?A POT T FOP Theory includes sight singing, ear training, harmony, ALBERT LEA COLLEGE history of music and musical appreciation. Graduation requires four years of piano or voice, besides harmony, history of music and one year of college work. The voice candidate must have a knowledge of piano. Credit in college counts as follows: Two lessons in applied music equals one semestral credit, the same credit for one lesson in harmony or history of music. Not over ten credits may count toward the A. B. degree. Piano fees for a semester are $27 to $36, voice $36, harmony $8, other studies in class $1.50 to $5. (288.) Parker College has a school of music aiming to teach music in the broadest sense. Graduates must finish the regular five grades, two PARKER COLLEGE years of harmony, and a semester each of history and theory of music. A teachers' certificate requires four grades of applied study, harmony, history of music and theory of music. Courses are given in piano, voice and violin, each five grades. Fees for applied study a semester are $18 to $36, harmony $9, history and theory being free. The music enrollment was one hundred nineteen, entire college record two hundred twenty in 1910. (289.) IOWA. As early as 1867, the Iowa State University had this para- graph in the catalog: "The State Normal UNIVERSITY OF IOWA Academy of Music at Iowa City, affords peculiar advantages to those who desire the very best instruction in vocal and instrumental music. This academy continues its sessions during the entire collegiate year, and holds special session during the long or summer vacation when the students, released from the regular classes of the university, may devote all their time to the study of music." The single item "vocal music" was listed among the studies for the spring term. (290. 1867-68:29,41.) In 1869, the general course had vocal music in the second and third years, and an instructor in music among the faculty mem- bers. (290. 1869-70:25.) Admission to the normal department in 1870, required an examination in algebra, geometry, natural philosophy, chemistry, astronomy, physiology, botany, mediaeval and modern history, analysis of English language, penmanship, bookkeeping, vocal music and linear drawing, and strongly urged to prepare in Latin and German. (290. 1870-71:6,39.) The following item was inserted in 1876: "Mr. Woollett, vocalist from London, and Mr. Litcomb, instructor in instru- mental music, having permanently located in Iowa City, offer to students of the university the best opportunity for the culture of the voice, and for acquiring a knowledge of the piano and organ." (290. 1876-77:35.) In 1883, the catalog announced that "students desiring 167 instruction in music will find ample opprtunity in Iowa City." (290. 1883-84:37.) No further notice was taken until 1898, when a glee club, minstrels, and a mandolin club were spoken of. (290. 1898-99 :114.) Among the administrative officers in 1900, appeared a music board of five members (290. 1900-01:7), and in 1901, Prof. Sea- shore, head of the psychology department, was made a member of this board. (290. 1901-02:7.) An oratorio society was formed in 1902, to meet the general demand for larger and more important works. It had given St. Paul, and intended to give Elijah. The membership fee was a dollar yearly. (200. 1902-03:52.) A "band master" appeared on the faculty in 1903. Private teachers available in the city for vocal or instrumental lessons, were spoken of again in the catalog. (290. 1903-04:26,53.) This notice appeared in 1905 : " The university has no depart- ment of music, but both vocal and instrumental music are encouraged and enjoyed by volunteer organizations among students and faculty members." A band, orchestra, two men's glee clubs, women's glee club, mandolin club, string quartet, vocal quartet, class and departmental organizations all existed during this period. (290. 1904-05:58.) In 1906, a university school of music was organized and affiliated with the university. Student volunteer musical organ- izations were given training by the faculty of the conservatory. Four teachers offered work in piano, voice, organ, orchestral and band instruments, history and theory of music, the latter in- cluding harmony, counterpoint, canon and fugue, musical form, musical analysis, and free composition. (290. 1906-07:67.) In 1908, the musical organizations were incorporated under one head as the University Music Association. Regular university credit was allowed in history and theory of music. Public school music was introduced in the school of education. (290. 1908-09 :278,509.) By 1909, the courses were outlined with respect to certificates and diplomas. The studies leading to a degree were along lines such as would develop mastery over composition. History and theory of music were allowed a maximum credit of twelve sem- estral hours, in the college of liberal arts. For graduation, all theory and history courses were required, including as much as the second year of degree course. A cer- tificate exacted the first year of degree requirements. The bachelor of music degree required the following studies: 1st year 2d year 3d year Elementary Harmony Counterpoint harmony Counterpoint Canon and fugue Theory Evolution of the art Instrumentation History of music Short musical composition and analysis Acoustics Musical essay of two thousand words 168 The fourth year required a composition in five part harmony, with original counterpoint and fugues at least twenty minutes long in the following form: (a) a choral work of three move- ments, one being for accompanied solo voice with 'the accom- paniment for strings, piano or organ, (6) a sonata for piano or organ, (c) a quintet for strings. An essay was required, intended to show points of similarity and of divergence in two standard works of harmony. A further requirement was study in four and five part harmony, counter- point and double counterpoint in 8ths, 10th, 12th, and 15th, and canon and fugue in three and four parts. Instrumentation included a critical knowledge of Elijah. Alternative studies were applied branches, or a course in French or German. A teachers' diploma required any of the applied courses, and an oral examination upon the subjects which a teacher should be prepared to explain. (290. 1909-10:363.) Piano, voice and harmony were offered during the summer session of 1912, with special attention to the needs of the teacher. (290. 1911-12:243.) The bachelor of music degree has much the same course at present as the one just outlined. The public school music course is two years in length and includes the following studies: 1st year 2d year Special requirements Voice Voice Freshman piano Solfeggio Solfeggio Elementary psychology Sight reading Sight reading Principles of education Harmony Harmony History of music History of music Form and analysis Form and analysis Public school methods High school methods Choral society Choral society The fees in piano a semester are $26 to $90, voice $50, violin $30 to $50, theory $10 to $15. (290. 1912-13:165.) Enrollment since the founding of a school of music was as follows : Music Music department College total department College total 1906-07. . 73 2,072 1909-10 60 2,352 1907-08. . . 97 2,315 1910-11 82 2,090 1908-09 1911-12 104 2,090 Penn College has a department of music offering piano, voice, violin, 'cello, banjo, mandolin, guitar, cornet, band and orchestral PENN COLLEGE instruments, harmony, theory, history of music and inter- pretation. Two college credits are given for history of music. Theory, notation and sight reading are listed in the college course also. The school maintains a chorus, glee club and a band. The music enrollment was one hundred forty-eight, college total four hundred six in 1910. (291.) 169 Iowa State College of Agriculture and Mechanical Arts has an affiliated school of music with five instructors, and offering all IOWA STATE COLLEGE grades of instruction in applied courses and theoretical branches. A four year musical course with sight reading, four years of theoretical work, and forty-eight hours college study will qualify for an artists' diploma in music. A one year supervisors' course prescribes methods, child voice, musical history, harmony and two courses in psychology. Theoretical courses include harmony, composition, history of music, single counterpoint, canon and fugue, analytical harmony, interpretation and form and instrumentation. A physics course, dealing with sound, is also required. The enrollment in the music department is one hundred eighty-five, total college attendance two thousand eighty-two. The tuition a semester for applied study is $32 to $35, theoretical studies $6 to $10. (292.) Central University of Iowa has a conservatory offering courses in piano, voice, organ, harmony, ear training, and CENTRAL UNIVERSITY OF IOWA history of music. Three studies are required for the bachelor of music degree, two of which must be piano, theory and history of music, the third may be elective. A public program is necessary. College entrance requirements must be met. A teachers' certificate is offered for six terms of theory and piano, or voice and two years of high school work. In 1909, the music department had only ten students, college enrollment being two hundred thirty-eight. (293.) Upper Iowa University maintains a school of music. Graduation requires three semesters of a year of music students' club UPPER IOWA UNIVERSITY extension work, embracing history, study and per- formance of works of standard composers, and one and one-half semesters of theory, and French and German study advised. The course requires four years. A two year post-graduate course is given in addition. The faculty have under advisement, tentative plans toward the bachelor of music degree. In general, the college does not consider a student ready for this degree until he has completed the four year college course, and two years of post- graduate study. Besides outlined courses in piano, voice, organ and violin, mandolin and guitar are taught. A course in public school music includes one year each of normal music, piano and voice, and half year of ear training. The course was put in, in response to a "heavy demand throughout the country." The present music school numbers eighty, the entire college three hun- dred ten. Tuition in applied branches a year is $14 to $27, theory in class $8. Music receives eight semestral hours of credit in the college of liberal arts, when taken in harmony, theory and history of music. (294.) Parson's College School of Music aims to insure a thorough equipment. A bachelor of music degree, soloists' diploma and teachers' PARSON'S COLLEGE certificate are all offered, and each requires college en- trance credits. The musical degree requires the following course: 1st year 2d year Mathematics 8 hours Language 8 or 6 hours English language 6 Physics 8 Bible 2 Bible 2 Harmony 4 Theory and orchestration .... 4 Applied major 6 History of music 4 Applied major 6 170 3d year 4th year Psychology 8 or 6 hours Elective 8 or 6 hours Bible 2 Bible 2 Instrumentation and simple Canon and fugue 4 counterpoint 4 Applied major 9 Applied major 9 Applied minor 3 Applied minor 3 Recital and thesis 4 The soloists' diploma requires six graces in an applied study, with the theory work of the first two years of the cegree course just outlined. Teachers' certificate requires four grac es of applied stu.-y, through theory courses of the sophomore year in the c egree course, and several appearances in recital. A cantic ate for A. B., B. S. or Ph. D. cegree, as well as for the soloists' or teachers' ciploma, is allowed twelve college credits for stu_y in harmony, history of music, and theory or orchestration. Tuition in organ or piano for twelve weeks is $18 to $21, voice or violin $18, class work in theoretical stuc y $12. The music enrollment numbers one hundred forty-eight, college total two hundred sixty-seven. (295.) Graceland College has a school of music in close affiliation. A preparatory, teachers' certificate, and a graduating course are GRACELAND COLLEGE offered. The certificate requires harmony, history of music, science of music, psychology, peuagogy and English. Graduation adds to this composition, counterpoint, musical form and science of music, and a year of German. A public program is required of a candidate for graduation. Applied branches are limited to piano and voice, with the theory courses already mentioned. (296.) Coe College has courses in music with a faculty of five. The department offers harmony, history of music, form and analysis, methods, COE COLLEGE (lectures and research work designed to give a survey of material used in teaching music), and all applied branches. The bachelor of music degree has the following studies: Physical training. . . 4 credits Applied major 32 hour a English 10 Counterpoint 4 Psychology 6 Harmony 12 German 10 History of music 4 French 10 Methods 5 Electives 27 Applied minor 8 Thesis or elective .... 2 One unit proficiency in music is required for admission to the department. The music summary for 1910 was seventy-six, college total four hundred ten. (297.) The conservatory of Amity College offers piano, voice, violin, stringed instruments, harmony, counterpoint, analysis of music, AMITY COLLEGE history, normal music, sight reacing and chorus. Four to six years are required to complete the course. A normal vocal department is maintained for school teachers and public school music teachers. The music summary for 1909 was forty-six, college total one hundred ninety-nine. Tuition for applied branches (twelve weeks) is $14, theory in class $5 to $6. (298.) Des Moines College has a conservatory which has developed with the school, and aims to produce musicians of " culture and DBS MOINES COLLEGE capability." The bachelor of music degree requires four years of piano, voice, violin or organ, a year of history and criticism of music, three of theory, college studies to the amount 171 of five hours a week for four years, a recital and full high school credits. Six years will give the A. B. and Mus. B. degree together. A teachers' diploma is given for theory and history of music completed, and a reasonable amount of proficiency in an applied subject. Voice students must take two years of piano. Tuition for twelve weeks in piano is $12 to $36, organ or voice $36, violin $20 to $24, theory in class $6 to $12. The music summary is ninety, college total five hundred sixty-eight. (299.) Buena Vista College offers musical work since "music is essential to a complete education." The course requires three BUENA VISTA COLLEGE years, with some musical knowledge before entering. Applied branches include piano and violin. Gradua- tion requires harmony, counterpoint, musical form and history of music; in college, French, German or Latin two years, history one year, and English two years. A public school music course is given. (300.) Tabor College has a conservatory with five teachers. A diploma requires a major in piano, voice, violin or organ, all the theory given TABOR CQLLEGE and literary studies equivalent to college entrance. Theoret- ical courses include harmony two years, counterpoint one semester, canon and fugue one year, ear training one year, analytical harmony one year, free composition three semesters, history of music one year. Applied branches are divided into preparatory, intermediate and advanced courses. Fees in applied studies a semester are $36, and in theory classes $10. Credit in music counts toward the A. B. degree. (301.) Ellsworth College has a conservatory which gives three courses leading to a musical diploma. Piano, voice and harmony are ELLSWORTH COLLEGE offered. (302.) MISSOURI. The first mention of music in the University of Missouri catalog in is 1896, when glee, mandolin, UNIVERSITY OF MISSOURI guitar and banjo clubs were spoken of. These were more as student organ- izations, and without serious intent for study. (303. 1896-97:30.) A university choral union was formed in 1898, which gave a May festival of two performances. Dues were twenty-five cents. (303. 1898-99:56.) A band and string band were in evidence the following year. (303. 1899-00:56.) A public school music course was put in the Teachers' College in 1903, to give the necessary training for regular instruction in the grades, but with no pretense of being sufficient to train specialists. (303. 1903-04:138.) The same course was further differentiated the next year, by substituting an elementary course of three hours, and an ad- vanced of four hours. (303. 1904-05:155.) In 1905, Teachers' College offered a course in general culture with one hour credit, elementary public school music with three hours' credit, and an advanced course fitting supervisors of music, with four hours' credit. Applied music was not a part of the course, but mention was made that teachers could be recommended. (303. 1905-06:180.) 172 In 1907, a "professor of music" appeared on the faculty. The courses then included the elementary and advanced courses in public school music, harmony, counterpoint and chorus. (303. 1907-08:32,210.) In 1911, the courses in the college of arts and sciences in- cluded harmony, counterpoint, canon and fugue, appreciation of music, chorus and orchestra. The school of education offered harmony, counterpoint, canon and fugue, form, free composition, appreciation, chorus and the same courses of public school music. Chorus and orchestra together were allowed one credit a semester, the total not to exceed four hours. (303. 1911-12:176.) The last catalog, 1913-14, offers the same courses, giving equivalent credits for work done, equal to that of other depart- ments. One unit may be offered for entrance credit, and consists of a combination of ear training, sight reading and harmony. The unit must be the equivalent of five hours a week of class work for two years. (303. 1913-14:50,165,239.) From correspondence, it was learned that music credit counts toward a degree. There is no extra tuition. At present, a student can get twenty-four hours' credit in music toward the A. B. degree in arts and science. One hundred eighty students are enrolled in the different courses, including names which may be duplicated. Mr. Pommer, the instructor, feels that music does not yet rank as it should in the Missouri University. (445.) Hardin College has a conservatory with seven teachers. The courses are piano, voice, violin, organ, sight singing, ear training, HARDIN COLLEGE public school music, harmony and musical history. A piano diploma with bachelor of music degree requires a high school education, harmony, history of music and a recital. It is a four year course. One year post-graduate study is added which leads to master of music. Voice graduation and the musical degree require three years, including a high school course, sight singing, ear training, two years of piano and a year of French or German. The violin course embraces five grades, and offers both a graduate and a post-graduate diploma. Increased demand has led to a public school music course which gives a certificate of proficiency. A high school education, harmony and ear training are required. Post graduate work in theory consists of counterpoint, canon and fugue. (304.) Tarkio College maintains a conservatory with five teachers. Besides the four usual applied studies, harmony, counterpoint, har- TARKIO COLLEGE monic analysis, analysis of form, strict counterpoint, free counterpoint, instrumentation, ear training, appreciation of music, normal teaching, sight singing and musical kindergarten are offered. The general course for graduation is as follows: 1st year 2d year Applied major Applied major Applied minor Applied minor Harmony f Advanced harmony, 1st semester Sight singing \ Counterpoint, 2d semester Ear training Sight singing 173 Select two Free composition Strict composition College history Harmonic analysis and analysis of form 3d year 4th year Applied major Applied major Applied minor Recital in major f Free composition f Free composition Select I Strict composition Select I Strict composition two 1 Harmonic analysis one | Applied minor [ Analysis of form ( Instrumentation The music enrollment is one hundred twenty-nine, total attendance two hundred forty-five. (305.) Park College has a department of music offering piano, voice and harmony. Twelve practice pianos are in use. Organizations consist of PARK COLLEGE a choir, band, orchestra and a men's glee club. Tuition in piano or voice is $8 for twelve lessons. Harmony in class is $4. There are fifty-seven music students, the entire school enrollment being four hundred eighty-two. (312.) Christian Brothers College has a department of music offering piano and violin. The courses are not outlined, as a CHRISTIAN BROTHERS COLLEGE separate bulletin is sent out on request. The catalog announcement gives the idea that college study and music are combined in such a way as to be beneficial to both departments. (306.) The Missouri Valley College has had courses in music since its founding in 1889. They are intended (1) for teachers MISSOURI VALLEY COLLEGE or performers, (2) as part time or general sub- jects. The courses include piano, voice, violin, organ, harmony, counterpoint, canon, fugue, instrumentation and history of music, leading to bachelor of music. Requirements for the degree are (1) four years' work in the major subjects, (2) harmony, composition and history of music, (3) graduation from the academy of Missouri Valley College, or equivalent (4) successful performance in a public recital. There is a post-graduate piano course of two years, as well as courses for church music and oratorio. The present music enrollment is one hundred eighty, total attendance two hundred nine. Since 1906, the college has maintained a well equipped conservatory of music. (307.) Missouri Wesleyan College has a well established conservatory offering courses in piano, voice, violin, harmony, MISSOURI WESLEYAN COLLEGE organ, orchestral instruments, theory and history. The course of study for graduation requires an applied major and English in the first year, the major continued and rhetoric the second year, the major study, elementary harmony, analysis and English the third year, the major, harmony, theory, German, analysis and history of music fourth year, while a .fifth includes the major, harmony and counterpoint. Voice has the same course, with two years of piano and two years' choral practice added. A graduate is required to give a public recital. The end of the fourth year gives a teachers' certificate. Music attendance is one hundred thirty-three, college total two hundred ninety. (308.) 174 Walther College, by a special arrangement with the Missouri Conservatory of Music, has a complete course of music. The three WALTHER COLLEGE recognized grades in piano, violin, and a four year course of voice are given, as well as lessons on other instruments. The music course may be taken separately or combined with other studies. Three years of study give a teachers' certificate, four years entitle the candidate to an artists' diploma. A year of harmony is required. (309.) William Jewell College offers courses in sight reading, part singing in the three different grades and band training. Music WILLIAM JEWELL COLLEGE is not yet a formal college department. A glee club has just been organized and a teacher provided. (310.) St. Louis University has a glee club and an orchestra open to those who CT mm* TTNTTVP^TTV have the necessary ability, otherwise there is no ST. LOUIS UNIVERSITY recognition of the study . (31L) noxTTUAT r-mrvr-i? Central College has two teachers who instruct in vocal CENTRAL COLLEGE and instrument al music. (313.) Westminster College does not have a music department, but permits arrangements with music teachers of the city, and WESTMINSTER COLLEGE of other colleges located at Fulton, for the study of music. There are opportunities for practice in the band, orchestra, gjee and mandolin clubs. (314.) Drury College has a conservatory offering courses in piano, voice, organ, violin, harmony, simple and double counterpoint, theory DRURY COLLEGE and history of music. Music is elective in the junior and senior years, to the extent of nine hours. Admission to the music course requires fourth grade piano, or six months of organ, one unit each> simple harmony a half unit, and history of music a half unit. The general subjects in Drury College music course are archaeology, Biblical literature, economics, fine arts, music, history, military science, philosophy, political science, pedagogy and sociology. The elective courses in music should not be over eighteen semestral hours. (315.) NORTH DAKOTA. The first mention of music in the catalog of North Dakota University is in 1898, as follows: UNIVERSITY OF NORTH DAKOTA "Regular instruction in vocal music will be given the ensuing year. This will be required of all normal students unless they are especially excused, and will be elective for all others." (316. 1898-99:68.) The following year, music was required of all normal and preparatory students unless excused. The study consisted of tone, major, minor and chromatic scales with intervals, time of all varieties, and tone color, as modulation, mode, concords, dis- cords and part singing. (316. 1899-00:68.) By 1905, a teacher had appeared on the faculty list. An elementary course of vocal music, required of all preparatory students, aimed to develop absolute pitch, sense and rhythm and an appreciation of better music. A glee club, band and an orchestra had been formed. (316. 1905-06:87.) In 1907, the music course counted as one-fourth credit. A second course consisted of harmony. (316. 1907-08:196.) 175 * The next year, harmony 1 and 2 gave four hours' credit, 3 and 4 was a teachers' course, also four hours' credit, and included ear training, sight singing, harmony, history of music and public school music. (316. 1908-09:85.) In 1900, teachers' college offered a course in elementary school music, and one in simple harmony. (316. 1909-10:212.) In the fall of 1910, the musical interests of North Dakota University were reorganized. The courses offered were harmony, history of music, methods in teaching public school music, and a course in high school music offered in connection with the model high school. The Carney song contest between classes was introduced, the prize being $50. No private instruction was included, such lessons being pro- curable in a local conservatory, or under private teachers. Organizations consisted of a male quartet organized in 1906, a band organized 1904, girls' glee club 1909, a university mandolin and banjo club organized in 1902, and an orchestra organized in 1906, which developed into the Grand Forks symphony orchestra in 1910. (317.) Correspondence shows that the university gives both entrance credit, and credit toward a degree. The present courses are harmony, history of music, methods, principles, appreciation and sight reading each semester. Band, orchestra and glee clubs, for two hours a week receive a half credit each semester. Except for the course for supervisors, the work is cultural. No extra fee is asked for class work, and no private instruction exists. Correlation is made with the art department, and the university hopes ultimately to establish a "school." From an enrollment of forty-one in 1910, the department has grown to one hundred sixty this year. Extension work exists in the form of lecture recitals, male quartet, mixed quartet and orchestra, the purpose being educa- tional. More elaborate plans are anticipated for supplying directors in several communities. North Dakota feels that the greatest need is thoroughly prepared teachers or leaders, and that county and state com- petitive festivals would improve the present system. (446.) SOUTH DAKOTA. The earliest library catalog of South Dakota University shows a music department in 1890. UNIVERSITY OF SOUTH DAKOTA Since correspondence shows the present department to be twenty-five to thirty years old, 1890 is approximately its be- ginning. "Symmetrical and thorough education" was offered in piano, organ, voice, theory and history of music. Piano study 176 was divided into preparatory, collegiate and advanced courses, with class instruction in the earlier stages, verging to private lessons in the advanced work. Theory and history of music were required of all who took a diploma. Piano and organ candidates for diploma devoted at least two years to harmony and com- position. Fees for vocal study were $35 yearly, for organ $60, piano being $25. (319. 1890-91:50.) The next year, the music department became the South Dakota College of Music. A post-graduate course in piano was put in for the development of methods in teaching. Candidates were required to give lessons in the preparatory department. The course gave a teachers' certificate. (319. 1891-92:18,37.) Church organ playing was added in 1892. Music was further elective in junior and senior years, with credit toward a degree. Students were encouraged to take college work with music studies. Piano graduation required six grades of piano study, two years' chorus, two years of harmony and musical composition, two terms of history of music, and a knowledge of English, modern language, algebra, a year of ancient, mediaeval and modern history, and a course in acoustics. Organ graduation required a similar course, voice course being four years. (319. 1892-93:22.) In 1895, the department opened up with an enrollment of thirteen, and was suspended for the year. (319. 1895-96:50.) This was during the financial stringency following the year of 1894, when drouth caused a failure of crops. In 1897, history and theory could count for credit toward a degree, if taken by one not ranking below a sub-freshman. Public recital for graduation was mentioned as customary by this time. (319. 1897-98:21.) A teachers' certificate required five grades of applied study and two years of harmony, musical form, history of music and chorus. Ensemble playing was added in 1898 (319. 1898-99:33), cornet study the following year (319. 1899-00:35), developing into a brass department in 1900. (319. 1900-01:46.) A course for diploma and an artists' course for bachelor of music were offered in 1901. The first required through com- position, about two years, the second required two additional years. The school had begun to increase again and new quarters were sought. (319. 1901-02:65.) For 1903, post-graduate courses were offered in any branch. Both voice and violin led to a diploma and bachelor of music degree. Twenty-four out of the total one hundred twenty-eight credits were allowed for courses in music. From chorus, orchestra, instrumental and vocal music, two credits could be gained each 177 year with a maximum of eight for the four years, when taken from a combination of these four studies. (319. 1903-04:72.) In 1908, a total of eight hours' credit was allowed for piano, violin or voice, sixteen hours being allowed for theory and history of music. Chorus, band or orchestra were allowed eight hours. For any combination, a maximum of twenty-four hours was allowed. (319. 1908-09:137.) A public school music course was added in 1912, including a three hour course of study. (319. 1912-13:190.) The present faculty includes seven instructors in purely musical subjects, with seven more listed in language and mathe- matics. Music is taught as part of a complete education, and at the lowest expense possible. The courses offered are musical theory and history, pianoforte, stringed instruments, voice, organ and wind instruments. One hour credit a semester with a total of eight, are allowed for piano, violin or voice, a total of sixteen hours being the maximum for theory and history of music. Eight hours are allowed for chorus, band or orchestra. Not over twenty-four hours' credit is allowed for any combination of music studies. A certain amount is further allowed for credit gained in the college of music by high school students. Theory includes harmony, harmonic analysis, music form and elementary homophonic composition, advanced harmony, coun- terpoint, canon and fugue, music history and aesthetics. Work completed in piano to the end of the sophomore year gives a teachers' diploma, and requires a recital. The bachelor of music degree requires two more years, besides three years of English, algebra, and two years of French, German or Italian. Violin and voice offer the same diplomas and degrees as piano study. Lessons are given in organ and wind instruments, and a year course in public school music. Tuition for a semester in piano is $23 to $32, voice $28, violin, viola or 'cello $25, and theoretical courses $6. (319. 1913-14:174,266.) The attendance for the successive years was as follows: Music College total Music College total 1890-91 69 371 1900-01 72 398 1891-92 51 251 1901-02 61 404 1892-93 50 281 1902-03 1893-94 36 232 1903-04 69 382 1894-95 34 291 1904-05 77 458 1895-96 13 292 1905-06 85 381 1897-98 61 410 1908-09 130 454 1898-99 49 345 1909-10 115 445 1899-00.. 48 384 1912-13 91 424 1913-14.. ..Ill 421 178 Dakota Wesleyan University has a school of music with six instructors. The aim is to educate both practically and DAKOTA WESLEYAN UNIVERSITY liberally. Music students are expected to take a music course and college work com- bined. Four departments exist, the preparatory, normal music department giving a teachers' certificate, the collegiate offering degree of music graduate and a public school music aepartment. Instruction is offered in all applied branches. A literary-musical course has been organized. The normal course requires three years' study, the collegiate being four years in length, and a complete training. Normal training and college combined require harmony, ear training, ensemble, sight singing, applied music, musical forms, principles of inter- pretation, single ana double counterpoint, normal piano methods and psy- chology, with college work each year. In the literary-musical course, music is substituted for a fourth of the college course. Tuition a semester in piano is $34 to $45, voice $45, violin $34, theoretical classes $1.50 to $12 a semester. The course for all music students is as follows: 1st year 2d year Elements of music Harmony Sight singing History of music Ear training Musical forms and principles of Piano classes interpretation College study Ear training Ensemble (piano) Ensemble (piano and strings) Applied music Solo piano classes Harmony College study Applied music 3d year 4th year Counterpoint (For collegiate stuaents only) Musical form and analysis Canon ana fugue Advanced history of music Intrumental and vocal composition Solo piano classes Analysis and higher musical forms Ensemble (string and Solo piano classes accompaniment) College study Normal piano methods Psychology and its relation to music Applied music The music attendance is two hundred thirty, total college enrollment six hundred fifty-five. (320.) Huron College has a school of music established for serious study. Eighteen rooms, sixteen pianos, ten being bought in two years, form HURON COLLEGE the necessary equipment. A strong feature is a normal department with training classes for children. A pre- paratory, intermediate, graduate and normal training department are offered. The graduate course requires two years, and includes ear training, harmony and musical history in the first year; ensemble, harmony, harmonic analysis, and form analysis in the second year. A year of practice teaching is required of candidates for the teachers' certificate. Tuition a semester in voice is $18 to $27, violin $27, theoretical subjects $15, normal department $7. The music total is sixty-six, entire college attendance three hundred ninety-eight. (381.) Besides the State University, Dakota Wesleyan University and Huron College, South Dakota has the following colleges which maintain music depart- ments: Augustana College, Columbia College, Eureka College, Freeman College, Lutheran Normal, Northern Normal and Industrial School, Pres- 179 entation Academy, Redfield College, School of Mines, Sioux Falls College, State College of Agriculture and Mechanic Arts, State Normals at Spearfish and Springfield, St. Mary's Academy, Ward Academy, Wessington Springs Academy and Yankton College. The total music registration of the state in 1912, including that of the first three institutions, was seven hundred ninety-seven, five not reported, the usual attendance being about seventy-five. Total student registration of the same colleges was four thousand one hundred seventy-two, one not reported. Thus 19 plus per cent take musical studies in college, which is less than, is actually true, since five did not report music enrollment. (60. 1912:90.) NEBRASKA. In 1877, the Nebraska University catalog had a vocal and instrumental teacher on the faculty, UNIVERSITY OP NEBRASKA with the following note inserted: "Instruction is given in vocal and intrumental music tuition is $30 a year." (322. 1877:8,48.) In 1880, a " director of the musical conservatory" was listed among the faculty members. The school was "created at the last meeting of the board of regents." Instruction was to be given in classes of three to four, or privately. Four in a class, piano tuition was $6, for private lessons $12. Voice tuition was $7.50 in a class of four, $15 for private study, sight singing was $1.50. A vocal class in the elements of music was free to all. Band training was introduced. The conservatory was established to obtain "a superior and economical means for attaining a true musical education." (322. 1880:8,21,23.) The following year, there were three teachers. Voice was emphasized as of great value to health and muscular develop- ment. Thorough bass and harmony were introduced in class at $7.50 to $10 for ten weeks' study. There were also classes in musical notation and chorus at $1.50 a semester. (322. 1881- 82:38.) In 1883, violin was added. (322. 1883-84:22.) The following note appeared in the catalog of 1884: "This department was established five years ago, but the work has been suspended for some time. It is hoped that its revival under the recently appointed instructors will be appreciated and supported by those interested in this important branch of education. In this age when everyone is, or pretends to be musical, it is well to remember that music is not a mere ornament, and that a superficial knowledge is worse than none at all. Good work cannot stand upon a poor foundation." Instruction was offered in piano, voice, organ, choral singing, and theory, including harmony, counterpoint, canon, fugue, form, composition and instrumentation in class or privately. (322. 1884-85:53.) In 1885 came the announcement of the "school of art and 180 music in which, pending the opening of the college of fine arts," instruction was given in vocal and instrumental music. For the first time, piano had a four year course outlined. An organ and a voice teacher was provided, as well as one for the violin, if desired. (322. 1885-86:27,74.) In 1887, the hope of a college of fine arts was mentioned again, when music would be placed upon a basis with other studies. (322.^ 1887-88:90.) Violin, harmony and counterpoint were offered in 1888. (322. 1888-89:8.) A University School of Music was opened up the fall of 1894, being a private corporation, with a university affiliation. Ele- mentary instruction was given irr harmony and theory of music, with opportunity for lessons on the piano, violin or in voice. (322. 1893-94:40.) In 1895, appeared the following notice: "There is affiliated with the university, a school of music, where, pending the opening of the college of fine arts, instruction is given in every grade of vocal and instrumental music/' (322. 1895-96:26.) This statement appeared in 1896: "It is not yet possible to open the college of fine arts, but the university has provided means for the necessary encouragement in music." (322. 1896- 97:235.) In 1897, three-fifths credit was allowed for two years in chorus training, while applied music could be carried as an elective after three years' university work. (322. 1897-98:152.) The following year, besides chorus credit, one year of band training gave one-fifth credit, the applied branches and theoret- ical study of the conservatory being on a credit basis as before. (322. 1898-99:226.) In 1900, only one conservatory course was allowed in any given semester. (322. 1900-01:195.) In 1901, an hour credit was given for each year of chorus. (322. 1901-02:203.) An hour credit was given for third and fourth year band training in 1902. (322. 1902-03:216.) The conservatory courses were removed from the university schedule in 1904 (322. 1904-05:279), leaving only chorus training, but were reinstated in 1905. (322. 1905-06:263.) All connec- tion was severed with the school of music in 1910, the credit for chorus and band remaining the same, since both were an integral part of the university. (322. 1910-11:159.) Owing to the fact that Lincoln has superior conservatory advantages, there being six in the city including the suburbs, the university has not built up its own chair of music. A strong attempt is being made to organize such a depart- ment. Six piano and violin teachers have accredited pupils, four credits being allowed of one hour each. Twelve students receive 181 credit in this way, the teachers in no way connected with the institution. The aim is cultural. Chorus and glee club are allowed a maximum of four hours' credit each. Credit is given both toward a degree and for en- trance, and the subject ranks with other studies. This year, a minor in music from another institution will be accepted on the graduate teachers' diploma. Chorus training gives one credit each semester, while a band is maintained as part of the battalion. The male glee club offers no credit. (448. 322. 1913-14:50,518.) Nebraska Wesleyan University has a conservatory employing ten teachers. The subjects offered are piano, voice, NEBRASKA WESLEYAN UNIVERSITY violin, organ, theory, history of music, ear training, normal training for music teachers, chorus and glee club training, band and orchestra practice, acoustics and public school music. An undergraduate diploma may be won by completing grade five in piano, grade two in harmony, and grade one in history of music, with a small public recital. The graduate diploma requires grade six in piano, grade three in harmony, and history of music in full. Post-graduation and bachelor of music degree require grade seven in piano, harmony and simple counterpoint in full, with a public recital of difficult compositions. Violin offers the same three diplomas, with the necessary substitution of violin instead of piano. Proficiency in piano must be shown, however. Voice requires only through grade two in harmony for the post-graduate course, and history of music in full, with a public program. Some skill in piano is required. Organ diplomas make practically the same requirements as piano. A theoretical course is given consisting of harmony, simple, double and quadruple counterpoint, canon and fugue, form and instrumentation. Courses in musical pedagogy for teachers are offered in all the applied branches. A music teachers' certificate is given in place of a diploma of graduation, to those who fail to give a recital. A certificate of proficiency is given for com- pletion of grade three in harmony, history of music in full, and no recital. The tuition a semester in piano is $40 to $72, voice $44 to $54, violin $54, organ $60, band and orchestral instruments $20, theory $12 to $18. The music enrollment in 1912 was two hundred ninety-one. (326.) Union College has a conservatory of music offering the following courses: Artists' piano course, organ, voice, violin, normal music UNION COLLEGE course. In order to graduate, a student must finish one year of German, a full course in the science of music (in- cluding two years of harmony, two years of musical history and theory, and one year each of counterpoint and composition), solfeggio, choral practice and applied music. A minor must be studied also, and a public recital given. A certificate is granted for the completion of the sacred organ course. The outline for the piano course includes piano, an applied elective, course in science of music, solfeggio and choral practice, forty-five units in all. The course for voice, violin, organ and normal course are practically the same. The artists' course is a post-graduate department. Instruction is offered on the viola, 'cello, cornet, guitar, and mandolin. Tuition is $9 to $18 a term in applied branches, $2 for classes in theory. (323.) Cotner University has a school of music with four teachers on the faculty, A graduate of Cotner conservatory may receive fourteen COTNER UNIVERSITY hours' credit toward the A. B. degree, but no additional credit can be given in the junior and senior years. The courses include piano, voice, organ, violin, musical history, harmony and public school music. Only one musical elective is allowed in any one term. 182 A certificate of proficiency showing the advancement may be awarded after a satisfactory examination. A teachers' certificate is given for com- pletion of the theoretical work and two other studies, with the required literary work. The requirements for graduation are one and one-half years of har- mony, two terms of ear training, one year history of music, one year analysis and form, history of music, sight singing and ear training. The tuition for piano a semester is $24 to $40, voice $36, violin $32, theory in class $10 to $20. The attendance in the music department was eighty-four in 1911, entire college registration being three hundred forty-four. In 1912, the music enrollment increased to one hundred fourteen. (324. 325.) Hastings College has a conservatory with two teachers, offering piano, voice, harmony, counterpoint, advanced counterpoint, HASTINGS COLLEGE history of music, analysis, theory and ear training. Graduation requires a recital from memory. Piano tuition a semester is $34, voice $20, theory in class $5, for each study. (327.) Doane College has a department of music employing four teachers. The courses include piano, violin, voice, organ, harmony, coun- DOANE COLLEGE terpoint, composition, history of music and public school music. The outline of study requires the following credits for bachelor of music: Entire music course History 5 units English 10 units Biblical literature. . .4 German or French 10 Economics 4 Mathematics 9 English literature. . .4 Physics 8 Psychology 4 Evidence of Christianity . . 3 Ethics 3 A music diploma requires thirty points high school credits, the entire piano, violin or voice course, and four years in theory and history of music. The two year course in harmony comprises the preparation for public school music teaching. Not over twenty-one units in music may be counted toward the A. B. degree. Tuition in organ is $1.50 a lesson, piano 50 cents to $1, voice 65 cents to $1, violin the same, theory in class $3. (328.) Creighton University has an orchestra and band organized in 1906, a mandolin and glee club organized in 1885. A vocal CREIGHTON UNIVERSITY and instrumental teacher appears upon the faculty list. (329.) Grand Island College has a school of music, requiring a four year course for graduation. Piano graduation requires harmony, GRAND ISLAND COLLEGE history of music, physical culture, and two years of high school work. The work is aivi.ei into prep- aratory, academic and collegiate. A post-graduate course requires a recital. Both voice and violin require a four year course for graduation, similar to the piano department. Candidates must have two years of English, two of French, German or Italian, one of history, two of rhetoric, composition and litera- ture, history of music and harmony completed, and physical culture one year. Tuition a semester in piano is $20 to $57, voice the same, violin $38. (330.) Luther Academy has a schoool of music with two teachers. Theory includes harmony, counterpoint, orchestration, musical LUTHER ACADEMY analysis and history. Applied branches include piano, voice, violin and organ; other studies are ear training, sight reading, psychology and a teachers' course. Tuition in piano, organ or voice a lesson is 50 cents to 75 cents, harmony (four in a class) 25 cents. The enrollment in music was one hundred thirty-five in 1907, entire college roll being three hundred one. (331.) 133 KANSAS. The earliest catalog available for the University of Kansas is 1890, at which time it had a well estab- UNIVERSITY OF KANSAS lished, active school of music. Courses were offered in piano, voice, harmony, counterpoint, history of music, elements of form and instru- mentation, lectures on art, science and aesthetics of music, and choral classes. The object was (1) to furnish instruction in all branches to amateurs or professional, (2) to combine music and college work, (3) to train teachers. By act of the legislature in 1889, musical instruction was free to all who passed the admission requirements, which consisted of elementary harmony equivalent to' twenty lessons, and piano with the ability to play Cramer, and Bach's Two and Three Part Inventions. The course in 1890 led to graduate in music. Unless the candidate took the full amount for both years, junior and senior, he became irregular and had to pay rates for lessons. The junior year included piano, voice, harmony, English and seminary, (lectures, criticisms and talks on teaching.) The senior year included piano, voice, counterpoint, elements of instrumentation, outlines of musical forms, English and history of music. Courses were outlined for organ, voice and violin, with the expectation of giving a diploma the following year in each. A graduate course in church music was also in preparation. Students were urged to take one college study. (332. 1890-91:79.) Interpretation, conducting and flute were added in 1891. Italian, French, German, elocution, dramatic art, English and those branches of mathematics, natural science, history and philosophy that bear most intimately upon the fine arts, were introduced into the courses, all the latter to be made collegiate as soon as possible. For graduation, a thesis or an original composition and a recital were required. (332. 1891-92:90.) In 1892, a four year collegiate course offered a bachelor of music degree. German, Italian and acoustics were added. The artists' course in voice, one year in length and giving the above degree, required entrance equivalent to three years' prep- aratory work in voice and piano, freshman English and elocution. The artists' course study proper included voice, oratorio, English, Italian, German, history of music, seminary for piano and voice, harmony, graduating thesis and a recital. Entrance requirements for violin course for degree were etudes from Fiorillo and Kreutzer, junior harmony, three years of piano and freshman English. The year of study consisted of violin, counterpoint, instrumentation, English, Italian, German, 184 history of music, outlines of music forms, seminary, ensemble playing, graduating thesis and a recital. A two year normal course in piano was the same as the artists' course, omitting the second year piano, the admission requirement being the same. Graduate in music was given at the end of the course. A post-graduate course was outlined for piano and violin. (332. 1892-93:44.) By 1893, the school of music required for admission in all courses, physical geography, United States history, general history, English composition, rhetoric, harmony and piano. A three year course was given in piano, voice, violin and organ, and a normal course of two years. A new two year course of public school music was introduced. The first year included tones and rhythm, intervals, solfeggio in two and three parts, methods in the grades, the second year being private lessons in the grades. The course of study for the bachelor of music degree was as follows : 1st year 2d year Piano (Same as 1st year, adding:) Technic German Voice class Elocution Contrapuntal harmony 2d semester English Harmony becomes composition Seminary Physical training 4th year Recitals and ensemble Piano Aesthetics 3d year Composition Piano Recitals and ensemble Composition Seminary 2 <* semester German Plano Recitals and ensemble Composition Acoustics 2d semester History of music Mythology and archeology added Thesis or original composition Recital Voice, violin and organ each had a similar course, voice requiring less theory and more language, organ exacting more piano than did the voice course. (332. 1894-95:50.) In 1896, the courses of study were differentiated into collegiate and artists' courses, the latter requiring higher specialization, both in theory and performance. Composition was emphasized. (332. 1896-97:55.) In 1898, admission to all courses in the school of fine arts included civil government, algebra one and one-half years, geometry, physics, English and foreign language two years. (332. 1898-99:61.) Besides the differentiation into two courses already spoken 185 of, a two year collegiate course was added in 1899, chiefly for teachers. (332. 1899-00:89.) By 1900, theory courses were put in the course of study, as well as applied music. (332. 1900-01:157.) By 1904, the normal class was required of all music students. It consisted of lectures on methods for teaching, papers and dis- cussions, and a study of systems in use in the schools. Once a month, it was devoted to a discussion of current events. (332. 1904-05:241.) In 1905, an added piano grade was open only to graduates of the artists' course, and gave master of music degree. Only students were admitted who had studied senior composition. The higher degree required a recital and the performance of an original work of larger form. (332. 1905-06:261.) 'Cello was added to the degree course in 1906. (332. 1906- 07:257.) By 1910, the faculty numbered twelve instructors, while twelve more gave work in German, drawing and painting, Greek, English language and literature, physical education, physics and expression. Entrance requirements were twelve units, including two and one-half units in mathematics, three in foreign languages, one from physical science, and two and one-half from another group, all of which were listed for choice in the catalog, and admitted of a wide range. Added requirements were the ability to play fourth grade in piano, in violin, Wichtl Book I., and Kayser 36 studies Book I. The courses enumerated as they were added each year, appeared also in 1910. The studies were free, but with the provision that those who fall behind and thus become irrgular, must pay the usual fees. The instructors received only part pay from the state, the rest being made up from the tuition of music students. The rates were as follows in 1910: First year piano a semester $50, voice $62, violin and 'cello $50 Second year 55, 62, 50 Third year 67, 62, 62 The fourth year was indentical with the third in rates for non- residents, free to residents of Kansas. The bachelor of music degree in piano requires the following course: 1st year 2d year Piano Duplicates 1st year Technic Normal class added Harmony f Voice English Physical education Select History of music one Free-hand drawing Expression German Recitals and ensemble | French Italian and Spanish Teaching materials 186 3d year Piano Composition Counterpoint History of music English Recitals f Voice Select I Drawing and painting one \ Expression | German, French, Italian, [ Spanish 2d semester Acoustics added One selected from bracketed electives 4th year Piano Canon and fugue Recitals Thesis English, optional Composition 2d semester Instrumentation Composition Teaching materials The organ course leading to degree is a three year course added to first year piano course, only substituting organ for piano in the last three years. A similar substitution is made for violin or 'cello. The two year collegiate course equals the first two years of the four year course. The master course represents the highest grade of proficiency in the school. (332. 1909-10: 257. 1912-13:269.) A tabulated summary of attendance for the several years is as follows: Music enrollment 1890-91 63 1891-92 109 1892-93 184 1893-94.. ..114 1894-95.. ..126 1895-96.. ..144 1896-97 150 1897-98 162 1898-99 176 1899-00 98 After 1899, the fine arts school was listed together: practic- ally all but a small per cent were music students, however. Both entrance credit and credit toward a degree are given, one unit out of fifteen for the former. A chair of music has existed since 1877, and the credit ranks with other subjects. The work is cultural in college, professional in the school of fine arts. Thirteen teachers are employed in offering the instruction.* (449.) Baker University has possessed a professor of music since the founding of the school in 1858. Music has existed as a separate BAKER UNIVERSITY department since 1906, granting the bachelor of music degree since then. *"The University of Kansas has appointed Arthur Nevin, brother of the late Ethelbert Nevin, head of its department of music. He will have under his supervision all the music in the Kansas schools." (543.) College total 474 981 1,038 1,232 1900-01. . 1901-02 . . 1902-03 . . 1903-04 Music enrollment 110 93 ..112 90 College total 1,154 1,233 1,294 1,319 1,260 1904-05 109 1,446 895 1,004 1905-06 . . 1906-07 . .167 173 1,706 1,786 1,062 1,087 1,150 1907-08 . . 1908-09 . . 1909-10 . . 1913-14. . 183 201 209 ..163 2,063 2,110 2,303 187 Credit toward the A. B. degree is given to the extent of twenty hours for theory, but none for the practical courses. Entrance credit to the extent of one unit is allowed "if taught in accordance with the Kansas State High School Manual." (450.) The university has a preparatory, a certificate and a degree course, from the beginning to the advanced stage of artistic proficiency. It has well organ- ized courses in piano, organ, violin, voice, with splendid theory and history of music. Students may specialize in theory, composition or history of music. The courses lead to bachelor of music, certificate, supervisors' course in public school music, post-grauuate and a course for regular college students. Of the one hundred twenty hours required for the music degree, fifty-five may be so chosen as to be available for an A. B. degree. Thirty-one hours of theory are required as follows: Harmony 6 hours Strict counterpoint 2 hours Advanced harmony 4 Canon and fugue 2 History 4 Formal analysis 2 Thorough bass 2 Elementary composition .... 2 Ear training 4 Musical appreciation 1 Harmonic counterpoint 2 Major subject 48 Minor subject 6 Electives 25 If a student majors in voice, or violin, his minor must be piano, if he majors in piano, the minor must be voice or violin. A major in organ requires a minor in voice or violin, and a second minor in piano, of twelve hours. One private lesson of half hour with the necessary preparation is counted as a three hour course. From the thirty-five hours of electives, twenty-one must be chosen from the college of liberal arts. In addition to these require- ments, a candidate for a degree must give a recital from memory during the senior year. A similar recital given in the junior year will allow three hours, extra credit. The certificate course has the following requirements: Composition and history. . . .21 hours Major subject 24 Free electives 6 A public recital from memory gives the three hours' extra credit. The supervisors' certificate requires the following subjects: Harmony 6 hours Musical history 4 hours Public school Sight singing 2 methods 4 Voice 6 Practice teaching is gained in the model classes. The post-graduate course requires work in free composition and orchestra- tion, and is intended primarily for graduates. Consistent specialism demands work in modern languages, physics, mathematics, h's L x>ry and philosophy. A normal class in piano methods is offered for the purpose of teaching students how to teach. When necessary, the college has opportunity for preparatory work in piano, voice or violin. The music enrollment was one hundred twenty-one in 1913, college total five hundred fifteen. Piano tuition a semester is $29 to $45, voice is $39 to $45, organ one lesson $25, violin or orchestral instruments $39, theory $12.50. (333. 1913:81.) Ottawa University has a department of music under the school of fine arts. The college offers two courses, the diploma and, the OTTAWA UNIVERSITY degree course. For the latter, fifteen entrance units are required. The preliminary piano course must have been completed. (335. 1911-12:82.) 188 A major must be selected from piano, voice, violin or organ for the degree. The course of study is as follows: 1st year 2d year 3d year Modern language Modern language Modern language or English Harmony Harmony Counterpoint Applied music Applied music History of music Theory Applied music Two years of piano are required of voice and violin students. The diploma course has the following studies: 1st year 2d year 3d year English English German History Harmony Applied music Harmony Applied music History of music Applied music History of music Theory Only one year of harmony is required of vocal students. A piano knowl- edge is required of voice or violin candidates. The last music enrollment was one hundred eleven, college total three hundred eight. (335. 1913-14:76,99.) Tuition in piano is $24 to $40, voice and violin the same, theory in class of four being $10 to $18, according to the subject. (335. 1911-12:82.) Oswego College for women has a department of music with a seven year piano course. The violin course has a similar standard. OSWEGO COLLEGE A certificate of proficiency is given at the end of the fourth year, at the end of the fifth or sixth year a teachers' certificate or diploma in music, at the end of the seventh year an artists' diploma, to the student who presents concertos and solos from the schools, in the various stages of development, and who has, in addition, marked ability. The teachers' course includes harmony and ear training; the diploma course requires harmony, analysis, simple counterpoint, in two, three or more voices, and composition in the smaller forms, both vocal and instrumental. The artists' diploma includes counterpoint and composition, canon and fugue, larger composition forms, and treatment of orchestral instruments. All students must take history of music. Two years of piano are required of voice students. Fifty-two students were registered in music in 1912. Piano tuition a year is $70, violin $60, voice the same. (336. 1913:40, 54,57.) Washburn College offers a course of theory in the -school of fine arts, besides instruction in piano, voice, violin and organ. WASHBURN COLLEGE Credit for chorus, glee club or orchestra is given at the rate of one hour for thirty-two hours of actual practice in any one of the organizations. The total amount of such credit may not exceed two hours. The piano course is as follows: ELEMENTARY INTERMEDIATE (One year) (One year) Piano Piano Solfeggio and dictation Solfeggio and dictation Musical h'story Harmony English English literature Physical education Sight playing 189 (Advanced) JUNIOR SENIOR Piano Piano Harmony Theory Sight playing Normal Normal concert department Recital 2d semester Counterpoint Harmonic analysis Ensemble Organ, violin and voice duplicate the above course with the necessary substitution in the major applied course. The bachelor of music degree requires at least two years after graduation. Special students who finish a course in applied music receive a certificate, harmony being required. A normal class for teachers requires two years. The public school music course requires one year and includes methods, piano, voice, solfeggio and harmony. Rates for piano lessons a semester are $27 to $40, voice the same, organ and violin $40 to $54, classes in theory $10 to $20, private lessons in applied study $36 to $54. (337. 1912-13:64,105,119.) Kansas Wesleyan University has a department of music with thorough and systematic education in the theory and KANSAS WESLEYAN UNIVERSITY practice of music. Piano has six grades, and is regarded as fundamental for all lines of music. Voice has five grades, violin has a preparatory, intermediate and advanced course. Graduation requires a recital from memory, and an examination in rudi- ments, theory, history of music, harmony and such branches as are essential to a good understanding of the subject. Suitable diplomas and certificates are given, according to the course of work completed. Additional instruction is offered on the mandolin, guitar, and all the brass instruments. Composition and counterpoint are offered also. Tuition in violin study for ten weeks is $30, piano or organ $18 to $20, theory in class $10. The music attendance was one hundred thirty-one in 1909, college total being one thousand three hundred sixty-one. (338.) Fairmont College has a school of music employing five teachers. Com- pletion of the fourth grade gives a certificate. Gradua- FAIRMONT COLLEGE tion requires an applied study, two harmony courses and a program. A voice graduate must have two years of piano and two courses in French and German. The fourth grade certificate requires sight reading, memorizing, technique, musical history and one course in piano. The full list of courses includes organ, piano, voice and violin (each five grades), harmony, counterpoint, composition, guitar, banjo, mandolin, wood and brass instruments. Music enrollment is seventy-one, college registration two hundred fifty- three. Piano tuition for ten weeks is $12 to $20, voice $15 to $30, violin $20, organ $30. (339.) Midland College opened a department of music "to meet the growing demand for thorough instruction in vocal and instru- MIDLAND COLLEGE mental music." College credit is granted for music in all but the freshman year. Courses are given in piano, violin, voice, cornet, theory, harmony and history of music. A candidate for the teachers' certificate must take theory, history of music and such studies as prepare for teaching. In addition to music, each student must take two college studies. Both the diploma and certificate require English, history and French or German. 190 The tuition a semester for piano or organ is $25, voice $18.50, theory $9.25. The music enrollment is one hundred thirty-nine, college total being two hundred seven. (340.) St. Benedict's College has a department of music offering piano, violin, , roTT^rp flute > c l arme t and co-net. The rates for piano lessons and use of instrument are $21, for violin $15, other instruments $10. (341.) Mt. St. Scholastica's Academy for young ladies offers training in piano, organ, voice, violin and guitar. Tuition for MT. ST. SCHOLASTICA'S ACADEMY five months in piano with use of instrument is $25, voice the same, violin $20. (342.) CHAPTER VI. WESTERN DIVISION. MONTANA. In 1895, the University of Montana had a department of music, offering vocal and instrumental UNIVERSITY OF MONTANA music, harmony, theory and ensemble, piano being the chief study. During the year of 1899, such artists as Godowsky, Max Bendix and Jennie Osborne were brought by the university. (343. 1895-96:42,47.) The fees were $6 a month. By 1903, a violin teacher was added to the department. (343. 1903-04:5.) Orchestra practice was given the following year. (343. 1904-05:64.) In 1907, elementary harmony and lectures on history of music represented the theoretical side, and had become fairly established. By a resolution of the faculty, March 30, 1908, eight credits were allowed for music as a free lecture. No credit was con- sidered for preparatory work. Piano study had to be above Czerny's Velocity Studies. Violin preparatory included Her- mann's and Dancla's Studies and below this grade. (343. 1907- 08:57.) In 1912, the courses included instrumental and vocal music, piano, voice, violin, orchestra, glee club, sextet and a phil- harmonic society. Eight credits were allowed for music in college. The regular college courses included public school music courses, both elementary and advanced, piano and violin. Tuition -was $20 a semester for piano or violin. (343. 1911- 12:133.) The summer school of 1914 offered courses in piano, voice, public school music, sight singing (preliminary work in ear training, tone thinking and notation, recommended to public 191 school music teachers), a complete course in theory, harmony and public school music methods, each of the studies allowing one semestral credit. (345.) The enrollment for the several years was as follows: Music Music enrollment College total enrollment College tota 1896-97 44 176 1903-04 46 313 1898-99 54 206 1904-05 50 283 1899-00 49 173 1905-06 27 289 1900-01 41 235 1906-07 45 383 1901-02 42 236 1907-08 33 291 1902-03 34 302 College of Montana has a school of music "being especially strengthened as the college recognizes the importance of music in COLLEGE OF MONTANA acquiring a liberal education." The courses are so arranged that a student can combine music with any other study or department, and on completing the desired work receive a bachelor of music degree. In the junior and senior years, advanced music is one of the electives offered, credit being given for acceptable work in history of music, theory and harmony. The courses include piano, organ, voice, theory, history of music and stringed instruments. Candidates for a degree must take harmony, counter- point, acoustics, analysis, etc. Tuition in piano or voice for a term of twelve weeks is $24. (346.) WYOMING. The University of Wyoming was opened in 1887. The earliest catalog in the library, 1896, UNIVERSITY OF WYOMING shows a course of five grades offered in piano, with a tuition of five dollars for eight lessons. (347. 1896-97:104.) An appended note in 1898, states that "the school of music is the only department of the university not supported by the state, but is a private enterprise supported by tuition." (347. 1898-99:64.) Possibly for this reason, music disappeared from the courses during the next few years of financial stress. (347. 1891-1903.) The department was reinstated in '1903, still on a private financial basis. Instruction was offered in piano and voice. A certificate was given for special work, and a diploma for finish- ing the course. The piano included a preparatory and a four year college course, the latter being a three year study. (347. 1903-04:104.) In 1904, it became the Wyoming State School of Music. Courses were added in theory, harmony and history of music. A further enlargement in 1908, was the addition of organ, violin, brass instruction, clarinet and flute. Seven teachers were employed instead of a single instructor. (347. 1908-09:153.) At the present time, the department is similar to the college of liberal arts, the same college entrance being required. Not 192 over six hours in orchestra or glee club may count toward a degree. The course of study is as follows: 1st year 2d year Elementary harmony 2 hours Harmony 2 hours History of music 2 Advanced history of music ... 2 Ear training - 1 Applied music 2 Applied music 2 English 3 Education : 3 Electives 6 English 3 Physical training Electives 2 Physical training \ 4th year Musical form 2 hours 3d year Applied music 4 Harmonic analysis 2 hours Electives : 10 Counterpoint 2 Applied music 2 (347. 1914:40,200.) Piano pedagogy for pianists, normal course for voice students 2 Electives 8 The enrollment was as follows: Music College total Music College total 1896-97 13 118 1903-04 .... No courses 1898-99 23 185 1904-05 21 205 1899-03 Nocourses 1914 9 423 COLORADO. The University of Colorado opened in 1877, with two teachers and forty-four pupils. In 1885, a UNIVERSITY OF COLORADO note was inserted in the catalog to the effect that special attention would be given to preparing students of the normal, for teaching music in the schools of the state. A conservatory of music had the following courses: Parlor music, church music, oratorio chorus work, orchestral and band training. (348. 1885-86:12.) Gradua- tion required about three years. The conservatory disappeared the following year, and no mention was made of the subject. (348. 1886-87:14.) By 1888, classes in singing were formed, and a chorus organized for the purpose of studying the classics. (348. 1888-89:15.) In 1893, the courses included outline of theory and history, material of composition, polyphonic composition, homophonic composition, history, aesthetics, and pedagogics of music, histor- ical recitals, sight singing and glee club. (348. 1893-94:68.) The Colorado School of Music was organized in 1894, not as a department of the university, but for the purpose of advancing musical culture in the university. The school was under the auspices of the "society for the advancement of music," the university professor of music being a member of its board. 193 Courses were offered in piano, voice, organ, violin, sight singing, glee club and chorus, and theory including the same courses as in 1893. (348. 1894-95:40.) The conservatory flourished until 1900, when it ceased to exist. The glee club, choral society and philharmonic society were listed in the university instead of the conservatory after 1900. College courses included history of music, theory, analysis, sight singing, material of composition, polyphonic and homo- phonic composition. (348. 1900-01:80.) By 1910, canon and fugue, composition, orchestration, history of music, aesthetics and philosophy of music were put in the graduate school. (348. 1910-11:155.) At the present time, the courses in' the college of liberal arts include harmony, counterpoint, canon and fugue, composition and orchestration, history of music, aesthetics and philosophy of music. The graduate school offers the same courses as in 1910. Some extension work is given in music also. (348. 1913-14:112, 153,277.) The courses offered are all theoretical and no fee is required for any of the work. (451.) Colorado College has a conservatory of music employing four teachers. Courses are offered in piano, voice, violin, organ and COLORADO COLLEGE 'cello. Daily lessons are given in harmony, counterpoint, orchestration and composition. Completion of the course gives a diploma. The music enrollment is sixty, college total five hundred ninety-seven. Tuition in applied studies is $35 a semester. (349.) The University of Denver has a glee club, a quartet, an orchestra and a UNIVERSITY OF DENVER ^ B Club ' TheFe ls n aCtivlty therwise ' NEW MEXICO. The University of New Mexico was opened September, 1892. The first catalog sent was in 1893, UNIVERSITY OF NEW MEXICO and contained this note: "The system of music taught in the university is what is sometimes known as " movable do" system, one which has obtained for many years in the public schools of many of the larger cities in the east, and everywhere with satis- factory results. Besides the teaching of the grammar of music, there is daily chorus work." The same instructor taught del- sarte, penmanship and music. (351. 1893:27.) In 1896, mention was made that music was not a part of the university, but training was given in vocal music. Students were recommended to obtain private instruction in applied branches in some conservatory of the city. (351. 1896:45.) In April, 1898, a conservatory was organized which was con- nected with the university. Piano, including three grades, was the only fully organized department, but courses were offered in 7 194 organ, voice, violin, mandolin, guitar, harmony and musical history. Three teachers were employed. (351. 1898-99:69.) The next year, other stringed instruments, counterpoint, musical form, orchestra and musical kindergarten were spoken of. A diploma was offered for graduation. (351. 1902-03:37.) In 1903, extension work was attempted by sending the Gamble Concert Company out over the state. Graduation required one year of harmony and one semester of history of music. Theory included harmony, counterpoint and composition. Violin offered six grades, piano five and voice four. (354. 1903-04:94.) The school of music disappeared in 1904, and no further attempt was made until 1907, when an " instructor of music" appeared on the faculty list. (351. 1904-1908.) In 1910, a "director of the department of music" and a "student assistant" were mentioned. A preparatory and a four year course were offered in voice. Theory of music, elementary harmony and notation were included. The collegiate piano course admitted none below third grade advancement. Violin instruction could be obtained by arrangement with a certain private teacher, a pupil of the Boston Symphony concert-master. (351. 1910-11:4,77.) Public school methods were added in 1911, a year in length, one semester being devoted to harmony. (351. 1911-12:34.) At present, besides piano, vocal courses in preparatory and collegiate work are given. Class instruction is given in theory and public school music, with credit in the preparatory depart- ment of the school of education. (351. 1912-13:88.) ARIZONA. The University of Arizona established a department of music in September, 1906, with the primary UNIVERSITY OF ARIZONA object of furnishing instruction in vocal music, especially chorus and glee clubs. A general chorus was required of all preparatory students. Training in orchestra was offered without credit. Private in- struction in vocal and instrumental music was added without credit, at the rate of $20 for ten weeks. (351. 1906-07:75.) The following year, courses carried credit as follows: Ele- mentary theory, ear training and chorus one unit, advanced chorus including theory, harmony and choral works two units, glee clubs and orchestra each one unit. (352. 1907-08:83.) The instructor resigned in 1908. (352. 1908-09:8.) At the present, the university has no department of music. Entrance credit is allowed "same as is given in accredited high schools," but none toward a degree. (452.) 195 UTAH. The University of Utah had an instructor of vocal music in 1893. (353. 1893-94:4.) The next year, UNIVERSITY OF UTAH vocal music was required of all second year normal students. (353. 1895-96:67.) By 1897, the vocal course included reading, elementary principles of voice, harmony, part singing, and was required of all first year normal students. (353. 1897-98:64.) Supervisors for school music were added in 1901. (353. 1901-02:12.) In 1904, a supervisor (over the nine grade training school of the university) was listed. He also had charge of practice teach- ing in public school music. (353. 1904-05:56.) Theory, history and a special teachers' course were put in the collegiate department in 1906. (353. 1906-07:131.) By the next year, all normal students were obliged to meet the necessary requirements in music before graduation. (353. 1907-08:13.) Full credit was given for all courses in 1908. (353. 1908-09: 195.) By 1910, the music course divided into section A, vocal study of operatic or choral works, section B, lectures on instrumentation or orchestra, section C, lectures on the history of the piano, and the methods of playing the same. Harmony, advanced harmony and history of music were offered. (353. 1910-11:175.) An appended note in 1911, announced that "it is the desire of the school of education, to encourage the engagement of specially certified teachers, to teach music in the grades of the public schools of the state. (353. 1911-12: 179.) In 1912, the public school music course differentiated into special preparation for the grades and the high school. (353. 1912-13:178.) Correspondence shows that credit toward a degree is given, and entrance credit to the extent of one unit. As ranking with other subjects, music counts as a non-preparation subject in high school, and receives a half credit. The chair of music is about fifteen years old, and offers at present elementary and advanced harmony four hours each, history (ancient and modern) two hours each, solfeggio three hours, musical form in conjunction with band and orchestra three hours. About forty per cent of the students take music with a pro- fessional aim in view. Two instructors are employed and one hundred fifty students are registered in the department. There is extra tuition for the private work, none for class instruction. The instructor feels that the great drawback to the work is the inability to hear great masterpieces. (453.) 196 Brigham University has courses which extend over four years and offer a diploma. One hundred forty-four hours' credit are BRIGHAM UNIVERSITY required for graduation in music. The department offers instruction in piano, band and orchestra practice, special band for women, harmony three hours, composition and analysis two hours, form two hours, cornet and clarinet. A diploma requires the following credits: Music 40 hours Modern language . , .8 hours English 20 Orchestra or band vocal class . 12 History, science and. mathe- Instrumental or vocal .... 38 matics 30 Theology 24 Harmony and composition . . 10 Where special work is done in voice or on an instrument, a special certificate may be given. (354.) The music courses in Brigham Young College are arranged to meet the growing demands for musical culture. Courses BRIGHAM YOUNG COLLEGE are offered in piano, violin, voice, theory, har- mony, choir practice, band and orchestra. The four year college course is as follows: 1st year 2d year Book of Morman 3 hours New Testament 3 hours English 5 English 5 German or French 4 German or French 4 ' Voice, piano or violin 2 Harmony 2 Electives 6 Voice, violin or piano 2 Free hand drawing 2 3d year Elective 2 Old Testament 3 hours English literature 5 4th year German or French 4 Church music 3 hours Voice, piano or violin 2 English, 2d semester 5 Psychology, 2d semester 6 Voice, piano or violin 3 Electives 9 (355.) NEVADA. In 1911, the University of Nevada had a department of music with two classes, and eighteen students UNIVERSITY OF NEVADA enrolled in the courses. (356. 1911- 12:40.) At present, the university offers six courses, including (1) ele- ments of music (college of education), (2) methods (for public school training in the college of education), (3) history of music, (4) harmony, chorus singing and interpretation, (6) voice in sections of four and offering no credit. The first four courses offer one credit each semester. Musical organizations are encouraged, and include a men's glee club, women's glee club, band and an orchestra. (356. 1913-14:79,178.) Credit is given toward a degree, and a half credit allowed for entrance. There is one instructor in the department, and the present enrollment in music courses is ninety-two, college attend- ance being three hundred seven. (454.) 197 IDAHO. The University of Idaho was established in 1889, and opened in 1892. The first accessible catalog in UNIVERSITY OF IDAHO the library is 1899, and shows a good department, with courses leading up to the bachelor of music degree. The entire course was free to those taking the full regular work for the music degree. To those who took only a part, a fee of $20 for twelve weeks for applied music was charged. The fee applied also to those not sufficiently advanced to rank freshman or above. The course for degree was as follows: 1st year 1st semester Piano Algebra Rhetoric and literature. French 2d semester Piano Trigonometry Composition and style . French . . 1st semester Piano .... German . . Electives . 2d semester German . . Electives . 3d year 2 credits 4 . 4 4 .2 .4 . 4 . 4 5 credits 4 8 4 .8 2d year 1st semester Piano ................... 2 credits French lyrics ............ 4 Modern poets ........... 4 Elective ................ 4 2d semester Piano... ............ ....2 Corneille, Racine, Moliere.4 Prose writers ............ 4 Electives ................ 4 4th year 1st semester Piano German Schiller Electives Piano German Freytag Electives.. 6 credits 4 8 5 4 The musical organizations included a cecilian society, phil- harmonic club for study of piano masterpieces, glee club, ladies' quartet, orchestra, mandolin and guitar club. (357. 1899-00: 18,50,64.) By 1901, all courses but counterpoint and composition were free to the candidate for a degree in music. The candidate was further required to give a recital, and to present a single fugue, quartet or short original composition. (357. 1901-02:46.) By 1903, the degree course was heavier, domestic science being added in the first year, a second foreign language in the sophomore year, and history of music was included in the junior year. By 1908, one hundred thirty-two hours were required for the degree. Acoustics had been added to the courses, while a recital was required in both junior and senior years without extra credit. (357. 1903-04:64.) "A growing need for trained teachers of music in schools" caused the introduction of the following two year course in public school music during 1908: 198 1st year 2d year Sight singing 2 hours Rote songs, sight singing 2 hours Ear training 2 Methods 3 Harmony 2 Harmony 2 History of music 2 Child voice 2 Educational psychology 3 Theory and practice 2 Chorus 1 Chorus and conducting 1 Voice . .- . . 2 Piano (tuition) 2 School administration (2d semester) Voice 2 (307. 1908-09:69.}] By 1911, regular college students could take music as an: elective up to a maximum of sixteen hours' credit. Voice and violin could be elected by the candidate for the musical degree, to the extent of eight credits. The course in piano and theory entitled the student to a diploma. (357. 1911-12:104.) By 1913, the theory course included notation, ear training, sight reading, dictation, appreciation, general theory, history of music, harmonic analysis, harmony, counterpoint and fugue. Piano and theory are the courses best worked out. The Dunning System, using the Leschetizky method for piano development, is used in the children's department. Voice has a four year course, violin, organ and cornet being offered. A string quartet, in addition to the previously mentioned organizations, all offer student training. The public school music department aims to superintend suchj work in the public schools and high schools of the state, and has become a more exacting course of two years. Piano, theory and appreciation have been added. All courses carry college credit, and any of them may be] elected. The rates for piano, voice and violin a semester are $30, fully matriculated or regular college students being allowed 33%- discount. The public school music course is $40 a semester, and is given in classes of six. (357. 1913-14:120.) The summary for the several years is as follows: Music enrollment College total 1901-02 94 329 1902-03 68 332 1903-04 59 367 1911-12 45 (B. M. 16) 527 1913-14 42 (B. M. 1) 747 The academy of Idaho has a four year course in piano, violin and voiced under excellently trained teachers. The department of ACADEMY OF IDAHO music is very satisfying and popular among the student body. (358.) WASHINGTON. In 1898, the school of pedagogy of the University of Washing- ton required the student to pass UNIVERSITY OF WASHINGTON an examination in music, which included the ability to sing easy compositions and to read music at sight. (359. 1898-99:89.) 199 A conservatory of music existed in 1892, offering piano, voice, kriolin, organ, harmony, composition and orchestration. Piano and violin each had five grades, organ offered three. A diploma m piano required one year of harmony, voice only a half year. Fees were one dollar a lesson for applied branches, harmony _ twenty-five cents in class. (359. ^ 1892:38.) History of music, theory and practice were added in 1894. 359. 1894:54.) The head instructor resigned the following year, and nothing existed down to 1907, when a musical course was established vhich offered concerts and recitals by such artists as Paderewski, >owell and Kubelik. [359: (1895-96) (1896-97) (1901-06) (1907- 18) 70.] In 1908, credit not to exceed twelve hours was allowed toward ;he A. B. degree, for the following courses: Harmony 2 credits a semester Advanced applied music 2 credits a semester Chorus or orchestra 2 credits a year (359. 1908-09:147.) History, appreciation and public school music were added the next year. (359. 1909-10:164.) In July, 1911, the board of regents formally added a depart- ment of music, and later in the year courses were formulated eading to the A. B. degree, introducing the following studies: 1st year Voice 8 credits Jistory of music 4 Jhoral study 2 Inglish composition 8 Italian 8 Physical training or drill .... 4 3d year Voice 8 credits Harmony . .4 Choral study 2 French or German 8 Political science 2d year Voice 8 credits Harmony 4 Choral study 2 French or German 8 Physics 8 Physical training or drill .... 4 4th year Voice 8 credits Musical appreciation 2 Choral study 2 Program 6 Philosophy 8 Elective . . . . 4 For instrumental degree, voice is simply replaced by another major in the above course. Two years of Latin may replace one year of French or German. Admission is the same as that in the college of arts. The candidate for a degree may receive a normal diploma by meeting the requirements of the department of education. (359. 1911-12:102.) In January, 1913, the regents approved the organization of a college of fine arts. This allowed a bachelor of music degree in voice, instrumental music, theory, and a four year degree course in public school music as follows: 200 "1st year English composition 8 hours Modern language 4 Notation and terminology ... Ear training and dictation ... 4 2d semester Sight singing 2 Elementary theory 4 Folk dancing 2 Applied music 4 Choral study 2 2d year Modern language 8 hoursj Physics 8 Harmony 4 Musical history 4 Musical appreciation 2 Child voice 2 (Grades) Applied music 4 Choral study 2 3d year Modern language 8 hours Political science 6 Harmony 4 Methods 4 Applied music 4 . 4th year Philosophy 4 hours Form and analysis 4 Advanced methods 4 (Normal and high school conducting) Musical apprecition 4 hours Applied music 4 Education 1 (359. 1913-14:262.) Candidates are advised to gain proficiency in another subject also, as there is demand for the teaching of more than one line. Tuition in applied music is $16 to $24 a semester. (359. 1913-14:262.) The summer session of 1914 offered courses in history of music, musical appreciation, public school music elementary and advanced, harmony, elements of form and normal methods for the piano, the first four courses allowing two hours' credit, harmony two and a half, and form one and a half credits. No fees were required. (360.) Witman College offers elective courses in music in the Witman Con- servatory of Music. Only a limited amount of applied WITMAN COLLEGE music may be credited toward graduation. Courses are offered in ear training and sight reading, harmony, counter- point, composition, orchestration, history of music and ensemble. A candidate for the bachelor of music degree must take two years of French or German beyond the admission requirements, thirty hours in music, one complete applied branch in the conservatory, besides English and Biblical literature. Graduation requires one huncred twenty-four hours. (361.) College of Puget Sound has a conservatory of music employing seven teachers. Courses are given in piano, voice, COLLEGE OF PUGET SOUND violin, organ and theory from the rudiments to the bachelor of music degree. Graduation re- quires two or three years, or longer. Post-graduate courses are given in the four applied branches. The bachelor of music degree requires the following credits: Academic credits Musical credits Modern language. ... 16 hours Harmony 6 hours Social science 8 English... 14 Physics . . . 8-4 History .... 8 Mathematics Electives . 8-4 12 Physical culture . . ... 2 Counterpoint Composition Orchestration History of music . Applied music . . . 76 hours . 6 . 4 . 4 . 8 .28 56 hours 76 Total . . . . 132 hours 201 Training is offered in choir, glee club and in orchestra. Tuition in applied music a semester is $27 to $54, for theory in class $6. The enrollment is one hundred two in music, three hundred ninety-four in the total attendance. (362.) OREGON. The University of Oregon began instruction in 1876. In 1896, lessons were given in piano and UNIVERSITY OF OREGON voice, with classes to be formed in har- mony for special music students. An oratorio society existed, and lectures on the lives of com- posers were offered. (363. 1896-97:69.) The next year, one credit a year was given in college for piano study. (363. 1897-98:78.) In 1898, this was changed to one credit in two years. (363. 1898-99:91.) By 1902, a school of music existed, offering courses in piano, voice, violin, theory, harmony and counterpoint. These led to a diploma or a degree. (363. 1902-03:85.) Composition was added, and regular four year courses out- lined in 1904. (363. 1904-05:107.) In 1909, a course was introduced for teachers since "the necessity of special training for teachers of music is realized." The purpose of this normal department was to give the music student a mental, musical and technical education that would fit him for teaching, with more than a superficial knowledge. The work required was as follows: 1st year Piano, voice or violin 2 hours German (Italian for voice) ... 5 Literature 3 English 3 Personal hygiene Physical training 3d year Applied major, same 2 hours Sight singing 1 Harmony 1 History of music 1 Psychology 3 Physics 1 French 3 Teaching music 1 2d year Applied major, same 2 hours Harmony 1 German 4 English 3 Elocution 1 Physical training 4th year Applied major, same 2 hours Sight singing 1 Education 3 Harmony 1 History of music 5 Physical training (363. 1909-10:188.) A fully developed bachelor of music degree was offered in 1911. Entrance requirements must be met, and the following studies completed: Physical training German 2 years English 2 Literature 2 Psychology . , 1 Education 1 year French 2 Italian 1 Physical training .... 2 202 A major in piano required two years of voice, and training in voice must be accompanied by two years of piano. (363. 1911- By 1913, the degree requirements were more than doubled and were as follows: History of music 1 year Personal hygiene 1 hour Harmony 3 Public speaking 1 German 9 Literature 5 English 6 French 9 Psychology 3 Physics of sound 2 Physical training ... 2 About third grade proficiency in the applied major was required for entrance to the course. Piano major requires two years of voice or violin, and voice candidates must take two years of piano. College students may take applied music to the extent of two semester hours, and further credit in theory to the extent of eight semester hours is allowed toward the A. B. degree. The special course for teachers offers much the same studies as given before. Tuition in piano or violin a semester is $20 to $45, harmony or public school music $5, for non-registered students. (363. 1913-14:186,242.) The enrollment for successive years was as follows: Music Music enrollment College total enrollment College total 1896-97 20 478 1907-08 . . 162 838 1897-98 34 336 1908-09 . . 168 1 185 1902-03 116 529 1909-10 . . 232 1 495 1903-04 138 588 1910-11 . . .209 1,482 1904-05 93 586 1911-12.. . 167 1613 1905-06 108 626 1912-13.. .171 1697 1906-07 97 673 1913-14 207 1,867 Correspondence shows that the subject does not rank with other studies. Both entrance and credit toward a degree are given. (456.) Pacific University has a conservatory of music with complete courses in piano, voice, violin, notation, harmony, counterpoint, PACIFIC UNIVERSITY canon and fugue, composition and history of music. Applied tuition a, semester is $17 to $22.50, theory in class $4.50 to $7.50. The summary of music enrollment is sixty-seven, college attendance one hundred eighty-eight. (364.) McMinnville College has a conservatory offering piano, voice, organ, harmony, history and theory. The course is four MCMINNVILLE COLLEGE years, with a post-graduate department. The bachelor of music degree has the following course of study: Applied music 4 years Harmony 3 years Italian and German . ? History 2 Sight singing ? Theory .'.'.''? Accompanist course . ? 203 'coTl'ee hTantnrollment of one hundred seventy-nine (365 ) musc. ...12 hour, The^of.rnusK . . . .2 hour, $35, theory $5 to i CALIFORNIA. In 1907, the University o UNIVERSITY OP CALIFORNIA choral Credit was given in 1909, only upon examination, and to continue "until fhe schools oi : the ; stat< , were able to gl ve system- ^SSnlrsSon oPSll ZKote thinMng, notation sight singing, education in music, song material advanced sight Sng and dictation, grammar grade methods round table hTgh school course, musical organizations and exhibitions history of music harmony, counterpoint and composition Each course gavTtwoS of credit. (367. 1910-11 :9) The demonstration class ted enrolled twenty-five children of the public school for Pra in iC 1912 ( f Soring in music required either an original com- position or a thesis based on original work in musical theory, ^ISmisttlchers of the state are expected to conduct classes in music as their regular work, teaching methods for "recommendation for teachers' certificate" are given. Teachers desfrinTto fit for this must complete thirty units in music. Not more than one of the four courses in vocal or instrumental music ^The 6 pSe n nt n course y s e tnclude appreciation, history, of music choral musfc, orchestral practice, symbols and terminology of musfcal notation, ear training, harmony, counterpoint, voice Oaboratory fee), great symphonies, madrigal music, pianoforte, The university does not offer technical work on instruments, and students are advised to keep up their study under teachers f Enhance credit in music is allowed to the. extent of six to nine units, three taken from sight singing and dictation, three from performance, and three from history of music The department was reorganized in 1912. beventeen are now offered of over thirty hours. Music has equal standing 204 with other colleges of the university. The subject is considered under three heads, (1) as a language, (2) as an art, (3) as a science. The backbone of the course consists of four progressive years in composition, beginning with harmony. The summer enrollment was six hundred. The winter classes had an attendance of three hundred seventy-five, the chorus and orchestra having two hundred thirty-five in addition to this number. (367. 1912-13:36,73,177.) " In 1895, the University of Leland Stanford had no music department, but students LELAND STANFORD JR. UNIVERSITY were allowed university credit for work in harmony under a San Francisco teacher. The catalog suggested that "a similar arrangement will probably be made in 1896, with courses in harmony, counterpoint, canon, fugue and instrumentation, if a sufficient number wish to take the courses." The University had received as a gift from the Stanford Choral Society, a number of vocal scores, with orchestral parts to be used in chorus, also affording material for study in instru- mentation. Courses were offered in harmony, sight singing, voice culture and song, private lessons in singing to those who wished it, six or eight weeks' training. (369. 1895-96:122,136.) The same conditions continued down to 1897, when the courses disappeared from the catalog. (369. 1896-97:114,137. 1897- 1905.) In 1905, training for Memorial Church Choir was inserted, with one credit each semester. Besides choir practice, three great oratorios were studied each semester. (369. 1905-06:161.) In 1907, entrance credit was allowed in appreciation, lives of composers, familiarity with certain instrumental masterpieces, harmony, counterpoint and performance (one year of systematic training.) (369. 1907-08.57.) The courses offered in 1911 were harmony, counterpoint, musical form and analysis, history of music, ear training and sight singing, two units a semester, and two ensemble classes with the usual choruses. (369. 1911-12:202.) Only choir work gives credit toward a degree, and the subject ranks with other studies. From correspondence, there seems to be only work in the university choir, and band practice for which one unit each semester is allowed. (457.) Pomona College gives credit in music after the freshman year, if it is advanced enough. Courses in musical history and theory POMONA COLLEGE ape taken ^ The wQrk offered ig ^ follows: Elementary course (freshman) ....... 2 hours Counterpoint ........ 3 hours Musical history and appreciation .... 3 Free composition ..... 3 (sophomore) Form ....... Harmony (sophomore and junior) ---- 3 205 For a musical certificate, marked proficiency must be shown in the major, and general knowledge in the minor, piano being required in all cases, and ability to perform an entire program alone. Certain studies are required in language, history, literature and philosophy. The fees in applied music a semester are $45 to $60. (370. 1914-15:63,83.) The bachelor of music degree requires a major and a minor taken from piano, voice, violin, 'cello or organ. The degree may require more than one year of graduate specialization for one who has made music a major study. Credit is given toward the A. B. degree, not to exceed thirty hours. Two- thirds must be in theoretical music. (370. 1913:66,85.) Mills College students are allowed one unit credit for applied music. Eight units is the maximum credit allowed toward gradua- MILLS COLLEGE tion. Theory courses offer harmony, counterpoint, ap- preciation, history of music, applied study in piano, voice, violin and organ, choir and choral, music, (one-half credit a year). The school of music employs ten teachers. (371.) University of Southern California has a department of music which is thirty years old. Both a preparatory UNIVERSITY OF SOUTHERN CALIFORNIA and a collegiate course are offered. There are no requirements for ad- mission. A university diploma requires four semesters in harmony and ear training, two in musical history, two in theory, a public program, and for piano students the normal class work. A teachers' certificate is offered for the completion of the normal course. College credit is allowed not to exceed fifteen credits. Tuition in piano or organ a semester is $38 to $95 Violin or voice 76 to 95 Theory in class 15 (372. 1911-12:201.) Music is recognized as part of the curriculum of the University of the Pacific. Beginning with 1912, the studies of UNIVERSITY OF THE PACIFIC bachelor of music degree are identical with those of the A. B. and B. Sc. degrees, except that forty units in applied music, and twenty in theory are necessary for graduation. History, notation, sight singing and dictation offer three units, harmony and composition three, applied music also allowing three units. (373. 1910- 11:51.) Santa Clara College offers piano, violin, voice and brass instruments. A band, orchestra, glee club and cecilian choir are SANTA CLARA COLLEGE all maintained. There is no indication of college credit for music. (375.) St. Vincent's College offers piano, organ and violin. Two teachers are employed in the department. There is no evidence of college rank in the instruction given. (374.) The following tables, made out from the colleges listed under the university section, show some interesting features. Slightly over two hundred are used, many being too unimportant, or too doubtful in regard to statistics, to be of much value at this point. This first table shows the approximate standard of depart- ments of music over the country, as shown by the material col- lected upon that phase, and also from correspondence: 206 DEPARTMENTS AND CHAIRS OF MUSIC. NONE SLIGHT MEDIUM EXCELLENT 39 institutions 39 institutions 77 institutions 51 institutions Of these, 17 are large colleges and state uni- versities. 8 being state universities, distributed as follows: Of these, 9 are large colleges and state uni- versities. Of these, 5 are state universities, as follows: Of these, 16 are large colleges and state uni- versities, 11 being state universities, as follows: Of these, 25 are large colleges and state uni- versities, 14 being state universities, as follows: STATE UNIVER SITY DISTRIBUTIO N WITH ABOVE CL ASSIFICATION 8 State universities 5 universities 11 universities 14 universities East 2 South 4 Midwest 1 West 1 East East ] Granting South 2 } no Midwest. .3 B. M. West 6 j East... . 1 South 3 Midwest... 6 (4B. M.) West 4 (3 B. M.) South 4 Midwest 1 West EQUAL CREDIT DOUBTFUL EQUALITY OF CREDIT 98. Distributed as follows: 66 East 21 Of these, 9 are larj universities, 6 bein distributed as follows East South Midwest . . West jer colleges and state j state universities 4 South 12 Midwest 44 West 21 38 of these being 23 of the 38 are stat as follows: East South Midwest. . large institutions, e universities, located . 1 2 4 .. 8 West 10 APPLIED STUDIES AND THEORETICAL STUDY. SCIENCE AND APPLIED STUDY SCIENCE ONLY APPLIED ONLY 120 institutions 27 institutions 17 institutions These are distributed as follows: East 15 17 of these are larger colleges and universities, distributed as One of the 17 is a large western institution, the other South 20 Midwest 67 West 18 follows: East 10 South 2 16 are all smaller, and no degrees are conferred. Of these 120 28 are larger Midwest 3 West 2 colleges and state universities, distributed as follows: East 7 South 5 7 state universities of the 17 are distributed as follows: East 2 South West 8 Midwest 3 Of these 28, 20 are state uni- versities, distributed as follows: East South 5 Midwest 7 West 8 West 2 Under "medium" classification, twelve of the seventy-seven colleges grant the B. M. degree, all being smaller institutions; one in the east, eight in the midwest, and three in the west. 207 Under "excellent," twenty-four of the fifty-one grant the degree, and are located as follows: Four in each the east and west, three in the south, and thirteen in the midwest. Fifteen of the twenty-four are large institutions, and of the fifteen eight are state universities. The first table shows that the largest majority offer a medium course of study, while the number offering an excellent course is larger than one would expect. In this respect, the state uni- versities show surprising advance, the few which give no recog- nition being mostly in the south. The number offering equal credit approximates one hundred; the east and west being a tie, the midwest being more than double either of the others in numbers. Two-fifths of the colleges offering equal credit are larger institutions. State universities in general make the credit equal, when the course is put in. As the table shows, doubtful credit comes from smaller schools, not from the larger, as a rule. Applied study alone finds little favor, as the figures show, only one large college being so listed. The bulk of the institu- tions offering musical study, combine the theoretical and the practical study, the midwest running far ahead of any other section of the country in this regard. Most of the universities where musical science is taught, are located in the east; this is more possible than elsewhere, for students may obtain private instruction under first class artists in the larger cities^ Unless universities can afford to employ artists in the larger places, they cannot compete against superior advantages, for the students are more or less specialists. The indications are that the future development of these larger institutions, will mean the employ- ment of the leading artists. Such an innovation is highly desir- able, both for the artist and for the serious college musician. These remarks might be extended, but the tables will assist the reader in making what further comparisons he wishes. 208 SUMMARY. An important phase of the growth of musical interest in universities and colleges, is the study of the art along THESES serious research lines, as shown in theses. The depart- ment of psychology under Prof. Carl Seashore in the State University of Iowa, has done important work in this respect. Recently, three theses for the doctor of philosophy degree have been completed upon the following subjects: "Accuracy of the Voice in Simple Pitch Singing." WALTER R. MILES. "Effect of Training in Pitch Discrimination." FRANKLIN 0. SMITH. "Variation in Pitch Discrimination within the Tonal Range." THOMAS F. VANCE. The following came from the same department in 1910: "The Curve for the Variation of Pitch Discrimination." MR. SCHAEFER. Prof. Seashore himself has contributed some important results. His work, as well as the nature of the theses above, will be dealt with to more length later under the head of research. The University of Chicago offered a thesis from the German department in 1913, upon "Tannhauser and the Venusberg." The sociology department of Columbia University in 1913, turned out a doctor's thesis entitled: "Music is a Human Need, Increasing and Decreasing with Social Pressure," by Alma Webster Powell. A master thesis is being written in the same institution, con- sisting of a music appreciation course of the nature of "Imagery." The work is being done in the departments of English and psychology. The placing of music on a college basis, has resulted in a number of so-called theses, of more or less serious attempt, hardly as dignified as the above list, for advanced degrees. The general tendency is for institutions to require a thesis in the senior year of the bachelor of music course, very often allowing choice of a thesis or public program, occasionally requiring both. The amount of class work usually taken at the same time, pre- cludes the possibility of any greatly extended line of research or investigation. In this respect, music departments in universities still lack the uniformity which is customary in carrying on research work in purely scholastic fields. The possibilities are very rich, and 209 work along these lines is much needed. Moreover, these theses are frequently written under the direction of the head of the music department, who has not himself been trained in research work, and may not even hold a college degree. It would seem that, what is very often a senior theme receives the title of thesis. The following information, which is of sufficient interest to include, shows the prevalence of thesis requirement in the musical departments of universities and colleges which have been dealt with in this thesis. No information could be gained, either from catalogs or from correspondence, in some instances; it may be inferred, therefore, that the list is not complete upon this phase. Correspondence with Amherst: "The list of theses is a long one." Wellesley has three theses. Tufts has "only a few, perhaps three." Correspondence with Smith College showed the following: "Development of Pianoforte Sonata," 1907. "The Modern English Oratorio," 1909. "Development of String Quartet," 1910. A thesis or original composition is optional in the music department of Columbia University. Tulane University, Louisiana, requires a thesis, recital or composition for graduation. The University of Oklahoma requires a thesis in the bachelor of music course. The University of Michigan requires theses. It is optional in the senior year at the University of Wisconsin. At De Pauw, Indiana, each senior writes a thesis, the same being true at the University of Illinois. Both Carleton College, Minnesota, and Parson's College, Iowa, require a thesis for the bachelor of music degree. A thesis or an elective is required for the same degree at Coe College, Iowa. Each member of the history class writes a thesis in the Uni- versity of North Dakota. The University of Kansas requires a senior thesis, averaging about fifteen a year. The following have been written for the degree of master of music : "Euryanthe and Lohengrin." 1912. "American Folk Music." 1913. "Development of Opera." 1914. A major in music in the University of California, requires an original composition or thesis in musical theory, criticism or history. This list, although not intended to be complete, is sufficient to give the general tendency. It will be noticed that serious 210 work is as frequent in the western as in the eastern institutions, and that a larger majority of the smaller colleges attempting big results, are located in the western half of the United States. A survey of the musical courses presented in the universities, Part II, Division II, reveals the fact just mentioned, that too heavy a college course is carried, almost without exception, to allow, as yet, of much valuable research. The theses upon musical lines which show this serious character, have practically all been written in college departments other than music, so far as the present research shows. This is conclusively true in regard to the masters and doctors degrees. The subject has not reached the standard yet, where most universities feel justified in accord- ing this highest distinction. Several of the larger institutions have already bestowed the doctor of music degree as honorary degree for superior work in musical lines, while not conferring it in the school proper. (Columbia University. College of William and Mary.) The following table shows the degrees of the instructors in the universities and colleges already spoken of in this thesis. It represents the results of a total of over two hundred thirty- two large universities and smaller colleges, almost that entire number being in the tabulation. The small figures show where some instructors hold one or more degrees. Five hundred fifty-seven hold no degrees, either musical or collegiate, sixty-five have the A. B., thirty- two have the A. M., and seven have Ph. D. degrees. Almost without exception, those who hold college degrees are at the head of the chair of music. Seventy-eight hold the Mus. B. degree, and thirteen have Mus. D. degree. These thirteen do not include the twelve who hold the bachelors, masters or doctors degrees in the first part of the tabulation. These figures show that, while a number are teaching in the college departments without academic training, the number with excellent training is very promising. Table showing comparative number of instructors holding degrees in departments of music. <>. O^ T^< CO 1 1 O O CO TH t- i i CO CO OO CO 10 g : : : : M d gq rH 1 s IS DQ pq "ft i l t- IN DEPARTME pq od : : : w | : A CO EGREES pq ^ i-l CO i-l CO i 1 - lO 00 t- Q 1 S 1 "* 3 CO co 1 Q 9 CO i 1 t- *> *> ' ! '5 3 3 3 O O __. i i ill I Z GO CO Z l> 3 o EH 212 MECHANICAL PLAYERS IN COLLEGES. The following instruments are in popular use in the North Atlantic Division: Piano player, Aeolian orchestrelle and Victor phonograph. The orchestrelle and victrola are in slight use in the South Atlantic and South Central Divisions. The North Central Division uses the piano, Aeolian or- chestrelle, "Cecilian," Victor records, lantern slides, auxetophone and Tel-electric piano player. Limited use is made of the pianola and victrola in the Western Division. Possibly lack of funds leads to the use of a piano for class demonstration. These mechanical devices are used for serious study in courses of history, biography, Wagnerian study, appreciation and glee club practice. The Virgil practice clavier is used in nine of the larger colleges, for the sake of acquiring ready and more rapid muscular develop- ment. The use and importance of all forms of players can scarcely be estimated. They are especially valuable in sections of the country where the people do not have access to the higher types of opera and symphony concerts. Harvard has a room with a piano player, where students get acquainted with masterpieces. One of the Massachusetts normals has a pianola used to demonstrate the programs of coming concerts. The glee club of the same normal also bought several hundred dollars worth of music rolls, which are at the disposal of students. The Chelsea High School in Massachusetts uses a pianola in the laboratory. Tufts College has owned an automatic player since 1897, and now has four with nearly one thousand rolls. All the players would be in constant use if there were quarters for them. (477. 1912:70.) The Western High School at Washington, D. C., has had a piano player for five years at the disposal of students, and it is in constant use. Indianapolis, Indiana, has fourteen piano players in the lower schools, and will possibly have twenty-four by another year. The Oberlin public schools in Ohio have a phonograph in each building. (478. 1913:168.) It is of interest to note the opinions of some of the leading musical educators concerning the use of mechanical players. While regarded, by some, as doubtful when first used for educa- tional purposes, a wide range of reading has failed to disclose any adverse criticism at the present time. Arthur Whiting, in the " Outlook," says, " Mechanical players will help us to think in terms of music." 213 Prof. Lewis of Tufts College says, they "take the drudgery off the teachers hands." (477. 1912:70.) He further says, that the automatic instrument is the most serviceable agent of musical education, since instrumental composition and vocal music were separated. It is the most efficient means so far of increasing one's equipment. G. Stanley Halls says automatic instruments should not be despised, and should be vastly more used in every school of music. They are fine for the study of style, movement, composition and the vast growing body of music. Robert Schauffer remarks that "automatic music will eman- cipate art from its present thraldom, as printing emancipated the drama. Ignorance and inertia alone are delaying the next great step in the development of music." George Coleman Gow of Vassar says, "Automatic players are a two-bladed ax in the hands of the educator. They can familiar- ize students with compositions by repetition, a system which gives wonderful results." (475. 1910:86.) "The modern piano player and phonograph make, in connec- tion with the printed page, a laboratory as well as a reading course of great fascination," so Prof. Tyler of Beloit College says. (471. 1906:55.) The Boston school committee made the following report: "In many schools, instruction in singing is supplemented by the graphpphone, a practical and effective means of training boys and girls to sing well. It gives them a love for and appreciation of good music, as interpreted by the great artists of the world." (6. 1912.) Edward Birge, supervisor in Indianapolis, Indiana, says: "The means of giving our school music completeness is now at hand, in the wonderful talking machines and the piano players. They will do for the child what the teacher does when she reads to him." (478. 1913:161.) Charles Skilton of the University of Kansas finds the sound producing machines of great value in teaching conducting. Different passages may be repeated as often as desired. He says no better method has been devised. (476. 1911:65.) Prof. Macdougall of Wellesley says the piano players have done a great service to music students. (471. 1906:61.) The illustrations serve to show the prevalence of mechanical players, and by no means exhaust the supply of information along these lines, since their general use is almost phenomenal. Only the added expense forbids a still greater use. It is safe to prophesy that the advent of instrumental music into the schools at public expense, will increase the number. 212 MECHANICAL PLAYERS IN COLLEGES. The following instruments are in popular use in the North Atlantic Division: Piano player, Aeolian orchestrelle and Victor phonograph. The orchestrelle and victrola are in slight use in the South Atlantic and South Central Divisions. The North Central Division uses the piano, Aeolian or- chestrelle, "Cecilian," Victor records, lantern slides, auxetophone and Tel-electric piano player. Limited use is made of the pianola and victrola in the Western Division. Possibly lack of funds leads to the use of a piano for class demonstration. These mechanical devices are used for serious study in courses of history, biography, Wagnerian study, appreciation and glee club practice. The Virgil practice clavier is used in nine of the larger colleges, for the sake of acquiring ready and more rapid muscular develop- ment. The use and importance of all forms of players can scarcely be estimated. They are especially valuable in sections of the country where the people do not have access to the higher types of opera and symphony concerts. Harvard has a room with a piano player, where students get acquainted with masterpieces. One of the Massachusetts normals has a pianola used to demonstrate the programs of coming concerts. The glee club of the same normal also bought several hundred dollars worth of music rolls, which are at the disposal of students. The Chelsea High School in -Massachusetts uses a pianola in the laboratory. Tufts College has owned an automatic player since 1897, and now has four with nearly one thousand rolls. All the players would be in constant use if there were quarters for them. (477. 1912:70.) The Western High School at Washington, D. C., has had a piano player for five years at the disposal of students, and it is in constant use. Indianapolis, Indiana, has fourteen piano players in the lower schools, and will possibly have twenty-four by another year. The Oberlin public schools in Ohio have a phonograph in each building. (478. 1913:168.) It is of interest to note the opinions of some of the leading musical educators concerning the use of mechanical players. While regarded, by some, as doubtful when first used for educa- tional purposes, a wide range of reading has failed to disclose any adverse criticism at the present time. Arthur Whiting, in the ''Outlook/' says, "Mechanical players will help us to think in terms of music." 213 Prof. Lewis of Tufts College says, they "take the drudgery off the teachers hands." (477. 1912:70.) He further says, that the automatic instrument is the most serviceable agent of musical education, since instrumental composition and vocal music were separated. It is the most efficient means so far of increasing one's equipment. G. Stanley Halls says automatic instruments should not be despised, and should be vastly more used in every school of music. They are fine for the study of style, movement, composition and the vast growing body of music. Robert Schauffer remarks that "automatic music will eman- cipate art from its present thraldom, as printing emancipated the drama. Ignorance and inertia alone are delaying the next great step in the development of music." George Coleman Gow of Vassar says, "Automatic players are a two-bladed ax in the hands of the educator. They can familiar- ize students with compositions by repetition, a system which gives wonderful results." (475. 1910:86.) "The modern piano player and phonograph make, in connec- tion with the printed page, a laboratory as well as a reading course of great fascination," so Prof. Tyler of Beloit College says. (471. 1906:55.) The Boston school committee made the following report: "In many schools, instruction in singing is supplemented by the graphpphone, a practical and effective means of training boys and girls to sing well. It gives them a love for and appreciation of good music, as interpreted by the great artists of the world." (6. 1912.) Edward Birge, supervisor in Indianapolis, Indiana, says: "The means of giving our school music completeness is now at hand, in the wonderful talking machines and the piano players. They will do for the child what the teacher does when she reads to him." (478. 1913:161.) Charles Skilton of the University of Kansas finds the sound producing machines of great value in teaching conducting. Different passages may be repeated as often as desired. He says no better method has been devised. (476. 1911:65.) Prof. Macdougall of Wellesley says the piano players have done a great service to music students. (471. 1906:61.) The illustrations serve to show the prevalence of mechanical players, and by no means exhaust the supply of information along these lines, since their general use is almost phenomenal. Only the added expense forbids a still greater use. It is safe to prophesy that the advent of instrumental music into the schools at public expense, will increase the number. 214 Somewhat along the same line is the tendency to make collec- tions of musical instruments for scientific study in ethnological and sociological problems. Yale and the universities of Pennsylvania and Michigan have each acquired such collections. They are used in the study of the evolution of musical instruments. (471. 1906:21.) In concluding this section of the thesis, the writer is referred to the excellent pamphlet gotten out by Arthur L. Manchester, upon "Music Education in the United States," which considered that phase in schools and colleges in 1908. The same was pub- lished by the Government Printing Office at Washington. DIVISION III. Educational Extension. 215 CHAPTER I. UNIVERSITIES, COLLEGES AND PRIVATE CORPORATIONS. University extension as such assumed its true form in the autumn of 1866, and was first lectures which later developed into regular class work. By successive evolutions it reached its present stage of development. The perfected plan arranged a series of graded lectures, by establishing examinations for stud- ents, conducted by university instructors under five heads; lectures, classes, essays, reading and study with examinations and certificates. This system has extended itself throughout the world, and has been the means of reaching thousands of human beings denied the privilege of college attendance. The American Society at Philadelphia took it up in 1890. Chicago took up extension, also the University of Wisconsin, and Columbia with the New York board of education is doing excellent work. Yale likewise is doing work along these lines, as well as many other colleges. One of the larger undertakings along the line of extension is that of the American Society for EX- EXTENSION TEACHING sion of University Teaching. It is sup- ported by voluntary contribution, and has made steady progress. It offers a number of courses, many of them being musical in character. (459. 1907.) As regards the manner of conducting the work, Thomas Surette, one of the musical lecturers, said the courses were carried on in a series of six to twelve weekly lectures. As adjuncts to these, (1) a syllabus goes into the hands of each one in the audience, (2) the lecture is preceded or followed by a class in which questions are asked, and an informal discussion held, (3) meetings of specially interested members of the " centre " so- called are held during the week, where papers are read, and, if possible, music is played. The society also offers a library of books with each course, free except drayage. (471. 1906:107). A general tabulation is of interest, and shows the development of the course of this society as follows, for a period of ten years: 216 No. of No. of Total all courses music courses attendance 1890-91. . 1891-92. . . 1892-93 . . . 1 "87 1893-94 . . 1894-95.. '5 '977 1895-96... 4 1,145 1896-97 . . . 7 1,725 1897-98... 17 5,326 1898-99 . . . .' 89- 17 5,464 1899-00..., 95 14 3,349 1900-01... 35 10 1901-02.... 84 13 4",095 Taking up the work in 1898, where the records are more complete, seventeen courses were given, confined to the territory of New York and New Jersey. The subjects of the lectures were " Great Composers of the Classical" or the "Romantic Period" and "Wagner's Music Dramas," with the attendance averaging from eighty-five to over a thousand. (459. 1898-99.) In 1899, fourteen lecture courses were offered in music, in all extension subjects ninety-five courses. Mr. Surette said of the lectures on composers, that the attendance increased fifty per cent at each meeting, and some were turned away. (459. 1899-00.) Mr. Hugh A. Clarke of the University of Pennsylvania, and Prof. Daniel Gregory Mason of Columbia were both added to the lecture circuit. During 1907, evidences of growth were marked, the attend- ance being the largest in the history. There was a further ex- tension to the more remote and smaller towns, where extension represented the only means of adult study. The centers were still confined to the adjoining states, New York, New Jersey, Pennsylvania, Delaware, Maryland, Connecticut and Rhode Island. (459. 1907-08.) For 1891, the Department of the Interior gives the following list of educational institutions offering extension work: The uni- versities and colleges of Bowdoin, Harvard, Brown, Hartford Theological Seminary, Columbia, Beloit College, University of the City of New York, Pratt Institute, Brooklin Institute, Uni- versity of West Virginia, Vanderbilt University, Universities of Cincinnati, Indiana, Illinois Wesleyan, Lake Forest, North- western, Michigan, Wisconsin, Iowa, Missouri, Kansas, California and the Norwich Free Academy of Connecticut. While not all represented extension teaching in music, a general educational activity in any line usually stimulates that in a special field. (485.) For a more detailed account of the present status of extension work, the reader is referred to the very excellent article of Louis E. Reber, dean of university extension in the University of Wis- 217 consin, Bulletin 1914, No. 19, whole number 592, which was printed last year at Washington, and embodies survey of the United States, accompanied by a brief history, and shows the phenomenal growth of such work. (463.) In correspondence with universities and colleges, it was learned that a number give extension courses in music, some have no such department, while others did not answer the question. Harvard gives such courses, Smith College does not, Brown University offers ''The Song and Song Composure" by Mac- dougal, Columbia has about fourteen courses on an average. John B. Stetson University of Florida offers the following courses: "The Pianoforte and Its Literature," " Beethoven and His Fore- runners," "Modern Composers," "'The Organ and Its History," "Bach" and "The Romantic Composers." Tulane University, Louisiana, gives music 1, while the university has three concert companies making trips under the university extension bureau. The University of Wisconsin offers theory of music, harmony, public school music, principles of instrumental instruction, appreciation, history of music and community music. North- western has public school music and piano extension. The Uni- versity of North Dakota has lecture recitals, male and mixed quartets, orchestra and directors for community music antic- ipated. The University of Nebraska sends out the band and male glee club. The University of Kansas offers lectures and concerts for Kansas communities, a development of community music. Oswego College, Kansas, gives history, theory, methods, etc.; the University of Colorado has some but not specified, the University of New Mexico sends out the Gamble Concert Com- pany. The universities of West Virginia, Indiana, De Pauw, South Dakota, Baker, Utah, Nevada and Oregon all reported they had none. Since extension may include concert work or study equally well, it is possible that a very small minority of educational institutions offers no such instruction. The understanding upon this point is rather indefinite in some cases. Extension teaching, in its broadest sense, should mean a diffusion of knowledge whether from study or text books, as the case may be. Mr. Reber finds extension through lectures in the Universities of Michigan and Wisconsin. During 1912 to 1913, the latter institution gave two hundred nine courses, two-fifths being con- certs. (463. 1914:30.) Local classes in music are being in- stituted throughout Missouri by the University. (463. 1914:37.) Union College of New York offers musical entertainments at an expense of one thousand dollars, paid for by admission. (463. 1914:62.) The University of California offers correspondence courses, lectures and university recitals. The department sees an un- 218 limited field, and hopes to establish lecture and concert routes throughout the state. Wisconsin offers perhaps one of the most interesting studies in this line of work, which is divided into five bureaus, one being community music. Its chief aim is to spread the use of music throughout the state, by group or class stimulation. (463. 1914:53.) To this end, four lines of work are suggested: A, singing societies organized by university trained people as a means of cooperation; B, series of lectures and musical entertainments directed by the university; C, university cooperation in musical affairs, organized and directed by community officials; D, festival activities of the class C. Under A would come singing societies with work in elementary theory and practice, perhaps a choral union or oratorio society. Under D, every community would have its own spring festival., (317. 1912:129.) The thoroughly democratic development of this work in Wisconsin precludes for the university more than the ordinary success of such attempts. It removes music from the status of a luxury for the few, and makes it practically a gift for the many. This must necessarily be so, if music is to be generally diffused in an educational way, since industrial conditions will very likely always hinder the acquisition of a costly musical equipment for the vast majority. It would seem very logical that the uni- versities should be the organs best adapted to perform this task, since they are the sources of general educational advancement, and form the most powerful educational center in each state. An unusual form of extension was spoken of in the "Thursday Musical Clarion/' the official organ of the society in Minneapolis, and was as follows: "The public library in Kansas City has a collection of pianola rolls for circulation. Gary, Indiana, has a similar collection. Peoria, Illinois, has had a circulating library of printed music for a number of years. The Los Angeles library has a sound-proof room for trying over new music. The Cin- cinnati library has had the circulating rolls for over a year. The Evanston, Illinois, library has a department that would take an article alone for its description. It has the Sadie Knowland Coe music collection/' (539.) This new phase again introduces the element of economy, since the cost of new rolls is not a small item. Such a circulating library would be used by a large class of people who never make use of the printed matter in libraries. Moreover, by public regulation of the records selected, it is more than probable that such a library would reach and elevate the taste of a class who would never be persuaded to seek music of a more elevating type than the cheap shows and the dance hall. Since mankind prefers that with which he is most familiar, music rolls form a ready 219 source of repetition, and at public expense offer an opportunity for checking up the class of music used. There is every reason to infer that fewer records would be purchased by those in better circumstances even. For observation readily shows that a taste for the cheap and commonplace in art, permeates all classes of society. CHAPTER II. In dealing with group singing, Boston naturally ranks first as the pioneer in training children to FESTIVALS AND CHORUSES sing in an educational way, while the name of Mason is inseparably linked with its development. Cincinnati is a close second and has been called, very aptly, the mother of festivals. This city instituted the North American Sangerbund, an outgrowth of the first "Sangerfest," June 1-3, 1849. Choruses from Louisville and Madison, Indiana, joined with the local German bodies in the festival. The school has been the vast recruiting ground for those musical events. Music was put formally in the Cincinnati schools in 1840. These same Sangerfests were held in 1849, 1851, 1853, 1856, 1870 and 1879. In 1870, some of the citizens conceived the idea of an American Music Festival to be held in May. One was planned with the presence of Thomas, and was held in 1873. A permanent festival chorus was created. In the first two meetings, Cincinnati with adjoining towns made a chorus of two thousand. This was called "The Harmonic Society/' and existed for twenty-five years. An "Orpheus Society" still exists and contributes to the music life of the city. Other present day musical organizations are "The Cincinnati Choral Society," "The Apollo Club," "The Society of Musical Art," and "The Mozart Club." In 1904, the festival program included Bach's B minor Mass, Beethoven's "Missa Solemnis," the Ninth Symphony, Elgar's " Dream of Gerontius" and "Die Meistersinger." (478. 1913:7.) Ann Arbor, Michigan, holds one of the older of these state festivals. It was the first state to develop a large interest in music, and is said to have one of the largest student choruses in this country. The yearly festivals are occasions of great dignity, and maintain musical standards of a very high order, such as a university should encourage. At the twentieth occasion, the Chicago Orchestra and the Metropolitan Opera singers took part. These festivals are heavily patronized by the rural districts, and seats may be secured at from forty to sixty cents a piece. 220 Norfolk, Connecticut, holds another such festival. One of the most unique is the Bach Festival held at South Bethlehem, Pennsylvania, sometimes more than yearly. No- where in this country can Bach be heard so favorably. The leader is a Bach scholar, while Bethlehem is a Moravian church center. People come from as far as Canada to hear the festivals. (536. 1913:311.) In October, Maine held its annual festival, first at Bangor, then at Portland, with a chorus of eight hundred voices, the Boston opera house orchestra and first class soloists. (540.) One of the finest choruses in the country is that of Damrosch in New York City, which puts on a number of the best choruses each year, at prices within the reach of most people. It is a standing chorus, selected and trained for such work. One could go on indefinitely describing such festivals, for they have sprung up as if by magic all over the country; universities and colleges almost without exception put on some chorus usually with a visiting orchestra, and have one performance at least, if not able to support a music festival. These manifestations are one of the strongest evidence of a growing musical life, and in a way that is truly educational. (536. 1913:311.) One of the latest developments . in musical life is the in- stituting of children's choruses in these jubilees. It would seem that the ethereal quality peculiar to the child voice is just be- ginning to be realized. Milwaukee gave Pierne's "Children's Crusade" in 1909, so also did New York. The latter city gave a concert with thirty- five hundred grade children, fifteen hundred high school pupils, and Schumann-Heink as soloist in 1909. (505. 1909:675.) The idea of children's choruses has spread very rapidly to the western states. The work of St. Louis along this line has been mentioned already in the public school music section of this thesis. The North Shore Music Festival at Evanston, Illinois, held a children's matinee at which fourteen hundred school children sang, and was a revelation in juvenile singing to those present. (537.) Another important phase of children choruses is that of the church choir. The Catholic and the Episcopal denominations both make excellent use of boy choirs, as well as some of the Protestant churches. The First Congregational Church at Chicago keeps one girls' chorus, ranging in ages from nine to fourteen, another of young ladies aged fourteen to eighteen, and an adult choir. In the last nine years, this church has sung forty complete choral works, including the "Messiah," "The Creation," "Hymn of Praise," "The Redemption" and "Elijah." 221 Each choir is organized with officers, reports and monthly dues. Concerts, festivals and outings form the social life. (474. 1909:93.) The St. Paul Methodist Church of Lincoln, Nebraska, has an adult chorus which gives some heavy public work each year, while the chorus of the State University has given a number of works, and has established the custom of singing the "Messiah" once each year. An entirely new feature is to be given in June, 1915, by the Nebraska State University, the commercial club and the State Historical Society, typifying the founding of the city. It is partly symbolical, partly historical. The pageant is set to music and makes free use of the allegory: The scene opens -with the appearance of the Spirit of Progress, accompanied by the Spirit of Adventure, symbolizing the new advance on the westward course of empire and civilization. The Prairie Sprites follow, as it were, springing up from the sod. The music is built through- out upon Indian melodies, most of them taken from the Nebraska Omaha Indians. The poem, music and acting are all the product of the university faculty and students. There is every reason to believe that the number of school operettas and choruses given each year is enormous, especially is this true, if one takes into account our large city centers, where such training is now a matter of course. It only remains to spread the movement to the remoter sections of the country, after "which a gradual toning up of standards, and better prepara- tion and equipment on the part of teachers may be expected. CHAPTER III. Counting various state associations, conferences of supervisors, musical section of the National Educa- MUSICAL ORGANIZATIONS tional Association, and a number of others, the list of societies organized for the serious promotion of the study of music is a long one. Their work is creating a strong sentiment for the better, yet the lack of intelligent cooperation is a great hindrance. A national periodical for such a purpose would facilitate matters very much. The following organizations have been noted in the course of a wide range of reading: California State Association (including seventeen county vice presidents and a state orchestra committee, local branches in San Francisco, San Diego, Sacramento, Santa Ariz, Alameda county and South California), Illinois, Iowa, Michigan, Minnesota, Missouri, New York, North Carolina, Ohio, and Wisconsin State Associations, American Guild of Organists, Eastern 222 Educational Music Conference, National Federation of Music Clubs, North- west Music Teachers' Association, International Music Society (United States section) (478. 1913:240), Music department of National Educational Associa- tion, Music Teachers' National Association, New England Educational League, American Society for Extension of University Teaching, and the American Vocalists' League. (477. 1912:9.) In 1902, about a hundred representatives in and about Boston, including music teachers in colleges, conservatories, public and private schools and friends of musical education, met to consider the ad visibility of music as a school subject. This conference extended over two years. (472. 1907:69.) Both the Music Teachers' National Association and the National Educational Association have growing sections devoted to the problems of public school music. (474. 1909:141.) The National Federation of Music Clubs includes a depart- ment of education, sacred music division for revising church music, scholarship loan fund, American music department offer- ing prizes for American compositions, public school music depart- ment, student section extension department, librarian for loaning music to clubs upon publication, and publicity department which furnishes monthly reports of all clubs. (478. 1913:31.) The public school music department of this same club just sent out a return postal, asking for a report upon the following points, which a federated club should do for school music: 1. "Appoint a live" committee on school music this com- mittee should visit the schools, investigate conditions, help to crystallize public opinion in favor of good school music, through club papers and the local press. Arrange at least one club program of school music given by the children. Form mothers' clubs to study song material for children, under direction of the supervisor. 2. Give concerts in grade and high schools, of standard com- positions. 3. Raise funds for purchasing player pianos, talking machines, library of classic standard rolls and records. 4. Purchase orchestral instruments and help organize school orchestras. 5. Assist the schools in giving community concerts. 6. Work through state and local associations for music credits in school courses, and for work done outside, and for standardization of music teachers and supervisors." These six items were sent out last fall in the form of a question- naire. (541.) * State certification of music teachers is beginning to be an issue. Michigan, New York, Missouri, California, Alabama and Florida have felt this need especially. The Florida association appointed a committee in 1910, to prepare examination for teachers of voice, organ, piano, violin and theory. They also wished the introduction of music in the schools. 223 The Missouri association has discussed the matter for some years. A committee agreed to a test of two grades of difficulty, and left the matter again to a committee. The California legislature introduced a bill in 1909, which provided that every music teacher must have a license, and the board of examiners was to be seven music teachers. A penalty was to be imposed upon those teaching without a license. The bill was endorsed by the Musicians ' Club of San Francisco, but it failed to pass. The Michigan Music Teachers' Association had a similar experience in 1910. For three years this state made attempts to require a certificate before teaching. (475. 1910:174.) Minnesota made an attempt to issue teaching license in 1912. Three examining members to each subject gave examinations in piano, voice, violin, organ, theory and harmony, public school music being included under voice. All candidates took examina- tion in theory and history. These were held July 5, 1913, at the same time in the four cities, Minneapolis, St. Paul, Duluth and Winona, each under the supervision of one of the examining board. Some difficulty was experienced in that each paper was checked up by these examiners, some were indifferent, and each had his own private marking not understood by the others. 57% passed. New York state association tried to set a "minimum stand- ard" five years ago. So much objection was made that it was changed to "essential standard." Four classes of members are included: active, associate, founding and auxiliary. Active membership requires ten years of successful teaching, with two years to be added to this requirement each year for at least six years. Associate members must have attained a high reputation as a teacher of music without regard to experience. A founding member must produce credentials from some musical institution of recognized standing, or from a private teacher eligible to associate membership. Auxiliary members must pass the test of essential standards. This is the New York association plan, but is not unanimously approved. Missouri has adopted standards and is giving state examina- tions in piano and violin, with a committee working on organ and voice. Many have already taken the examination. The requirements are purposely lenient, hoping to bring up the standard of the poor teacher. Piano requires fifth grade in performance, and third grade sight reading, with knowledge of elementary harmony. Ohio reorganized completely in 1913. The aim is to set up a complete machine beginning with the teacher in the smallest town, and ending with the Music Teachers' National Association. Forty counties were already organized in 1913. A committee worked for two years upon the problem. 224 Almost all Ohio educational institutions have conservatories attached. Less than 1% of the music students finish, over 60% become teachers, without a year's schooling. The situation of the public school music supervisor is equally bad. As these illustrations show, standardization is attracting attention from many parts of the country. The points of doubt seem to be: (1) Shall standardization be a national or a state affair? (2) Shall registration of music teachers be governed by set examination? (3) Shall the standard be "minimum" or "essential?" (478. 1913:219.) CHAPTER IV. One of the largest, if not the largest field for all forms of municipal and settlement teaching MUNICIPAL AND SETTLEMENT exists in New York City. At 55 East Third street, such a settle- ment was established in 1874. Miss Emily Wagner from Balti- more came to the city, with the plan of giving lessons to poor children at low prices. The school is now an incorporated organ- ization with an enrollment of eight hundred. They are taught piano, violin and 'cello, sight reading, musical theory, ensemble playing and singing. They pay twenty-five cents a lesson, and scholarships are given to those too poor to pay. Success has been so great that thousands have been turned away. Other cities are taking up the plan. On Sunday, May 21, 1911, a conference was held in New York at the Music School Settlement House, for the purpose of dis- cussing this new social phase. Delegates were present from two music settlements in Boston, from Albany, Providence, Phila- delphia, Brooklyn, New Rochelle, Pittsfield, Rochester, and from the Armstrong Society for colored people in New York City. Music was provided by the settlement orchestra of one hundred twenty players. At the close of the session, an American Federa- tion of Music School Settlements was formed. A negro violinist in New York City established a similar federation for negroes about the same time. Almost every afternoon, children may be seen waiting at the New York settlement house. They are not regular pupils, but are waiting to take the place of some regular student who may fail to appear. (536. 1911:233.) In 1908, three hundred seventy-five were enrolled, while thirty thousand lessons taken collectively, were given by a faculty of thirty-two. The course of study included stringed instruments, piano, harmony, voice and ensemble. To this was to be added 225 organ, wood work, history of education, English language, literature, music type setting, music plate engraving, construction and repair of musical instruments, and piano tuning. The school is always capacity full with a waiting list. One evening every week is devoted to a public concert. The students naturally fall into two classes: (1) Those who study as far as circumstances permit, (2) those who are talented and take up orchestral work (one of the latter class was admitted to the Damrosch Orchestra in 1908, in the violin section), (3) the class who have the talent to become teachers. All instruction in harmony, ensemble, musical orchestration and choral practice was free in 1908, with the intention of pro- viding an English course and technical instruction also free. The school library of books and music is likewise free. In July and August, the yard provides room for five thousand six hundred children. A teacher drills them in organized play. One evening each week, a concert is given during the summer, with a regular rehearsal of the junior orchestra on Sunday. (536. 1908:427.) The child welfare exhibit in New York City in 1911, was one of general surprise. One evening, a chorus of one thousand sang, two other evenings the chorus numbered five hundred, while boys' and girls' glee clubs were heard on still other evenings. A choir of thirty Italian boys came from the Mission of Our Lady of Loretto. A chorus from the colored orphanage at Riversdale on the Hudson sang also. An orchestra of one hundred thirty players from the Music School Settlement also contributed, whose playing equalled the precision of artists. Public school number 21 sent a band of Italian boys, whose instruction had been donated, Brooklyn Disciplinary Training School sent a band of thirty, the Hebrew Orphan Asylum a band of twenty- five. The Three Arts School furnished an orchestra of fifty well trained players. Morris High School in the Bronx sent an orchestra to accompany the chorus. Manhattan from the Russian Jewish quarter sent a choir of singers, and an orchestra made up of pupils and graduates in which were sixteen first violins, seventeen second, one viola, two 'cellos and a trombone. Lack of balance was provided by a piano part. New York Institute for instruction of the deaf and mute sent a military band. The committee learned of many more such organizations. The point of all this work was that the children were given a start from which the really talented might develop into musicians. (536. 1911:483.) The summer of 1914 made the fifth year of music for the masses. From six to eight thousand attended every evening, and matinees on Saturday and Sunday at the Mall, in Central Park, New York City. Part of the concerts were given by bands, 226 but a large majority were given by the orchestra of fifty from the Metropolitan Opera House, all masters of the first rank, and heard in programs of the finest classics. Four years before, most of the same people had never heard a symphony concert. This was an experiment at first, and proved that love for the best music is not an educative process. The people were as attentive the first year as the fifth. Most of the audience were "East siders." Twelve to fifteen such concerts a day are given all over the city during the summer months, but none of such high grade as those of the orchestra in Central Park. There is not any possible doubt but that these concerts give the greatest conceivable satisfaction. The great works seem to exalt them and bring them into more harmonious relationship to life after the day of heavy toil. This was learned by the supervisor of these municipal concerts in personal conversation. The relaxa- tion and receptivity seem greatest during these concert evenings, amid the ideal surroundings of the park. The aim is that the message and necessity of good music shall reach the very heart of the people. It is not the purpose that public schools should compete with this spontaneous psychic element, but it should be included in the system. The school board of New York City has begun winter orchestral concerts in some of the school halls free to the public, and with great success. This seems the rational process of getting at the 96% now without the pale of the musical world. The way to give good music to the people is to give it to them not as a substitute, but as one of the means of musical salvation and as an education for the nation. Of all the municipal concerts given in New York City, this symphony orchestra in Central Park alone gives complete satis- faction. It is the only orchestra; other concerts are given by bands much less proficient and offering programs of ordinary standard. The result is less attention, more confusion and distinct unrest. Seemingly, it is to stringed instruments, and not to wind that we must look for real modern progress. The latter does not compare favorably with the orchestra, in bringing out the finer instincts and the sublimer emotions. At any rate, the New York municipal concerts have revealed this subtle distinction. Concerts are given on eight recreation piers or river fronts. In 1910, New York City spent one hundred thousand dollars in this way. In 1912 and 1913, folk dancing for children on the piers was an important event. Small bands of ten players are provided for these occasions. (478. 1913:16.) Still another feature of municipal work in music is the fact that a practice has been instituted of giving free organ concerts. The old Presbyterian church at 5th Avenue and llth Street gave a series of such programs in 1912. 227: Some of the large stores particularly in New York City, Philadelphia, Boston and such centers, have a custom of giving free noonday recitals often in recital rooms for the purpose. The New York World gave ten thousand dollars for the pur- pose of offering the best music in the public schools and educa- tional institutions of New York City. One of this series was given in the assembly hall of the College of the City of New York. Nearly three thousand listened to Beethoven's "Lenore Overture," Mendelssohn's " Scotch Poem," and Goldmark's "Sakuntata Overture," admirably played by a symphony or- chestra. This same college has interested itself very actively in the problem. Since 1908, it has been offering free organ recitals on Wednesday and Friday afternoons during the winter. (536. 1912:764.) A New York musical institution was given a gift of five hundred thousarM dollars recently, for the purpose of offering the best instruction in the world to New York musical students. Such scholarship funds are becoming more frequent in many large cities. Mention should be made of several large choral organizations in New York City, which present great works long before they are heard elsewhere. (536. 1908:63.) The above activities have been cited for the purpose of emphasizing the fact, that both the status of music and public sentiment are undergoing a very rapid change at the present time. Never before has the cultural value of music been so keenly appreciated, nor has the realization of its possibilities as an educative factor in developing character, dominated the minds of educators as at the present time. The craze for municipal music has swept like wild fire all over the country, and has permeated even to the remotest towns in the Rocky Mountain states. The situation is not so much one of contagion, as of a condition ripe for sudden change and adjustment. The key to the whole municipal and settlement idea, appears to be a conviction that true art must find its life in the hearts of the people, and that only by speaking to the masses (to the man in the street, as well as the man in the palace) can any art lend aid in shaping the lives 'of the nation. Such a form of education, once established, can never be stamped put by any effort of church or state, no matter how great, for it is the spon- taneous expression of the natural emotional life. While it is not possible to touch upon all the manifestations of such activity in the larger cities, a middle west town, Chicago, may rightly claim some attention. The Hull House Music Settlement of Chicago is the oldest of the kind, while that of New York is the richest. The former teaches piano, violin, sometimes organ, orchestral and choral 228 work and singing. The fees are usually about one-tenth of the normal. All the Hull House children have note reading, ear training, writing, vocal development, song interpretation and piano. (508. 1912:1014.) "Pop" concerts were tried as an experiment in 1910. In a series of programs by such artists as Tetrazzini, Fremstadt, MacCormack, and others, music was presented of such a character as to attract the masses with surprising results. The effect was to develop an audience of listeners who had never attended musical performances before. (537. 1910:360.) Chicago introduced a series of concerts in parks and play- grounds during the summer of 1909, which were called "musical evenings." All programs were first class and introduced even chamber music, the most severe form of all. Children attended very freely. The result proved that no concessions to popular taste are necessary. One evening was devoted to choral singing, unaccompanied, to show the development of plain song from the twelfth century through the early polyphony of the sixteenth century to the modern era of harmony. This undertaking was the creation of the Woman's Trade Union League of Chicago. (536.1909:327.) Cincinnati has made systematic attempts to provide musical programs for social settlements begun in 1904. Prior to that time, the possibilities which lay buried beneath the surface of the "common people," mostly immigrants, was little appreciated or suspected. The keen interest in music was a surprise. There was no necessity to cater to low musical taste, for cheap music got no applause. "Carmen" was given one evening, and snatches from the opera could be heard in the lower sections after the program. The concerts have been given for ten years now. The Union Bethel of Cincinnati gives one program each year to the settlement, and maintains a music school in connection, with an enrollment of sixty pupils. Piano, violin and mandolin are taught. A chorus has existed among the older girls of the settlement for ten years. It gives a concert each year, and acts as choir in many of the church services. A group of little girls eight to fourteen years of age give a cantata each year. Two more choruses are to be started. Wealthy Cincinnati residents offer free band concerts during the summer. The symphony orchestra gives five programs during the summer at twenty-five cents. Sunday concerts are given in the winter at the same price, the seats being sold for an entire year in advance. In many of the younger immigrants, a desire has been created for a study of music. (479. 1913:25.) Since 1908, the Minneapolis Symphony Orchestra of seventy- eight players gives especially arranged concerts to the children 229 for ten cents. The same practice is carried out during concert tours to other cities. (507. 1911:790.) Passing to the far west, we find Seattle offering evening classes in sight reading and chorus training, with concerts mixed in with the teaching. The Amphion Club gave a program with first ranking soloists, and the Bonner orchestra of thirty-five men gave an evening complimentary to high school students. (509. 1913:602.) A striking proof of the feeling of the necessity of orchestral music is shown by the fact that in spite of yearly deficits of fifteen to eighty thousand dollars in the larger cities of the east, orchestras continue to increase in number, in size and in expense of artists and performers. (534. 1908:91.) The Metropolitan Opera House in New York City never hopes to defray its expenses. To make it do so, would be to defeat its own cause, since the luxury of opera could be enjoyed only by the favored few. CHAPTER V. SUBCHAPTER I. RESEARCH. The past few years have been characterized by unusual activity in psychological lab- PSYCHOLOGICAL IN UNIVERSITIES oratories, in the phases of music which lend themselves most readily to scientific study and research work. The Iowa State University possibly deserves first mention for research done under the guidance of Prof. Seashore, head of the department of psychology. The attempts have been directed along the problem of the singing voice. The experiments were performed by means of the tonescope, which works on the principle of moving pictures, and enables the person or observer to measure the pitch of any tone by direct inspection w r hile singing, speaking or playing under normal con- ditions. There is a contrivance, by means of which the vibrations of the voice mechanically raise or lower a flame for each sound wave. A screen rotates at the rate of one revolution a second, and carries a row of dots. When a tone is sounded, the row of dots corresponding to the vibration frequency of the tone will stand still and be clear, while the other dots move and tend to blur. Each row runs under a number on the scale. So the row which stands still points to a number which designates the pitch 230 of the tone. To see the pitch, one has only to read the number of the line that stands still. The tonescope is the work of many. Dr. E. W. Scripture designed the first laboratory experiment using this principle in psychology. Dr. C. E. Lorenz is the person to whom we owe the synchronous motor, and plan of using the selenium cell with the siren. Mr. E. W. Beckly and Prof. E. A. Jenner made the first tests in determining the value of the tonescope in the musical conservatory. It remained for Prof. Seashore to install and perfect its use in a practical way in the psychological labor- atory. Dr. Walter R. Miles, a pupil of Prof. Seashore, has standardized procedure for various problems in the measurement of singers with this instrument. (529.) An early attempt by means of the tonescope was made in 1905, by Prof. Seashore and Prof. E. A. Jenner. The problem was (1) can we facilitate the development of control in pitch of the voice, by using an aid to the ear in training? (2) May the ordinary limits of accuracy be exceeded by training with such an ear aid? In attacking these questions, three lines were fol- lowed: (1) Accuracy in reproducing a given tone, (2) accuracy in singing a given interval, (3) the least producible change in the pitch of the voice. The tests lasted twelve days, each practice period consisting of one hundred sixty trials which took forty-five minutes. For the first five days, the singer depended upon his ear in the usual way. This was followed by a period of five days in which the singer was told of the results at once. Six men acted as observers. (1) Aid helped the ability to strike a note that had been heard, which amounted to 42% over the unaided attempt. (2) Aid helped accuracy in singing an interval. This aid amounted to 50% for major thirds, 50% for a fifth, 60% for an octave. (3) Voluntary control of pitch of voice improved by control. The average superiority of aided senses over unaided amounted to 26%. (4) There is probably some gain from the aided training following the unaided singing. There was no evidence of transfer of gain in accuracy of memory image. (6) Gain in discriminative control of pitch if voice is fully transferred. (7) Improvement in the ability to sing intervals and ability to produce minimal change very much more pronounced in aided than unaided series. (8) The second question was not absolutely answered, but it seems probable from the radical improvement, and from introspection showing an unaided to seem entirely satisfactory to the ear, which could be corrected by aid, that a higher degree of accuracy of pitch in singing may be attained, by aiding the ear in training, than could be possible to attain without aid. No matter how keen the ear of a trained musician, a single test shows his ear to be "too generous," too easily satisfied, for, when the error is pointed out objectively, he recognizes it. 231 We thus find evidence that the singer cannot reach the physiological limit of accuracy by ordinary methods of voice culture, since he has no objective criterion, by which he can check up the accuracy of his ear. (5336.) The three doctors' theses already spoken of, were the con- clusions of research work by the aid of the tonescope, another being in process of completion upon the study of intervals, and is also for the doctor's degree. The above thesis led to a similar experiment in Minnesota in 1909, both spring and fall, first with a group of a hundred stud- ents, then with one hundred seventy-six, mostly sophomores. Three tests were given ; one with a tuning fork for discrimination of different pitches, one by the aid. of a sound pendulum to determine differences of intensity, and one by the use of the sonometer. The experiments proved that those who had had more train- ing showed better ability. Almost without exception, the keener discrimination came from those who had been given vocal drill in the grades, with private lessons of some sort. Those with poor discrimination had studied very little. An interesting feature was that so many enjoyed music through its rhythm. Six of those who had the poorest pitch discrimination were trained for a half hour five days a week for two weeks, with no practice between tests. Everyone of those so trained reached a discrimination which was better than the average of the two hundred seventy-six tested. Seashore concluded that training was practically of no value at so late an age. The Minnesota conclusion was that it amounts primarily to a training of atten- tion, in selecting the one factor of pitch and holding that in the focus. (318.) Bingham has carried on a somewhat related investigation, " Studies in Melody," in which he works out a motor theory. (531.) Prof. Max Meyer, in the University of Missouri, worked along these similar lines: I. The aesthetic effect of final tones. II. The intonation of musical intervals. III. Quarter tone music. From I, he concluded that a melody ends upon a fundamental tone, because it is lower than overtones, and thus a falling in- flection, as in the voice, and a consequent feeling of rest. (525. 1903:192.) In the laboratory of Cornell University, a study was made of methods of distracting the attention. First by musical sound, and, secondly, the effect of pitch upon attention. The conclusions were that, in general, music facilitates rather than inhibits attention. If there is any fixed attention, it seems probable that the middle octaves have the greater effect upon the attention. As a side experiment, the subject was tested by his discrimina- 232 tion of lifted weight, using the method of right and wrong judg- ment. Although not proving anything, the experiment hinted at the presence of a dynamogenic law, and also indicated that a distraction which acts as a facilitation, if given with the first of two stimuli, partly counteracts the tendency to underestimate. The counteraction is especially marked in the very musical person. There seems to be no essential relation between pitch and dyna- mogenic effect. (523. 1897-98:332.) About the same time, an experiment upon musical enjoyment was performed in the laboratory of the University of Chicago. The subjects used included one professional and twenty-one amateur musicians. The conclusions were that music has a somewhat definite emotional content, which seems to be furnished entirely by the moral association or temperament of the person. A" great differ- ence exists in the capacity of the individual to receive definite impressions, and of composers to convey them. To overcome a strong individual mood, requires music of extremely strong ex- pressiveness. The dominant tone is usually caught and held, to the conclusion of the subordinate emotions. (523. 1897-98:63.) The same study was made in Clark University in 1912. The aim was to get a detailed and accurate description of the mental processes involved. This study is closely related to the problem of aesthetics. The conclusions under two heads were as follows: A. Psych- ological: Listening to music is accompanied by disturbance in distribution of blood supply, possibly directed to attention, and not the product of emotional variation. Heart beat tends to increase, whether attention is voluntary or not, and whether music is fast or slow. The respiration is irregular, and varies with the intensity of the emotion of the observer. Muscular reactions, including movement to rhythm and those also of strain and relaxation, are of great importance in the appreciation of music. B. Introspective: Pleasurable emotions, due to timbres of instruments and nuances of tone's. Pleasurable reaction to rhythm. Pleasurable associations which are the product, in the main, of past experiences more or less familiar. Pleasure derived from the play of imagery. An intellectual activity, consisting of an analysis of the melodic and harmonic structure. Others who have experiemented along this line are Oilman, Ferrari and Lahy, Fere and Tarchanoff. The latter asserts that gay music neutralizes the effects of muscular fatigue. Scripture got the same results as Tarchanoff. Patrizi found no such effect. Mentz found a slower pulse with perfect consonances, with increase of heart rate in concentration. Binet and Courtier found an increase in heart beat and respiration. This was greatest in dissonant chords. Ferrari found vaso-motor changes in ab- 233 normal and pathological subjects of an idiotic or insane tempera- ment. Weld refers this to an assumed absence of cortical control. Foster and Gamble found the effect of music upon respiration to be the same as that in general mental application, with this difference, that the breathing was irregular in the presence of music. Shephard found that a rapid pulse resulted from agree- able and exciting music. Introspections reveal that " music consciousness " is made up of a mass of kinaesthetie and organic sensations, motor, vocal motor, auditory and visual imagery, numerous associations, many of which are irrelevant, effective and emotional processes, and previous phenomena which have to do with intellectual enjoy- ment. There is no room for doubt that movement, real or imaginal, in the body of observer, determines the direction and character of visual imagery. Other mimetic movements are a tendency to sing, hum or whistle. (526. 1912:245.) A psycho-physical test upon school children reported from Leland Stanford, shows that sensitiveness to pitch increases up to ten years, and then becomes a constant. This points to the conclusion that systematic ear training should begin before that age. Hearing and helping in good music is one of the best means of ear training. (81.) The Western Reserve University has contributed an article upon music imagery, in which the conclusions were drawn that the power of music to call up imagery rests upon direct association. (530. 1898:463.) Harvard has contributed a long article upon the structure of simple rhythm forms. (532. V. 1:309.) Binet and Courtier give an account of a means of applying the graphic method to study the action of the fingers in piano playing. A Marey tambour is connected with the keys of a piano, in such a way as to record the intensity, duration and form of the pressure exerted in striking them. This affords an excellent way of studying the finer shades of expression in music, and of discovering the errors which are made in rendering a selection. (522. 1895:576.) Tolstoy mentions the existence of an apparatus, by means of which a very sensitive arrow in dependence on the tension of a muscle of the arm, will indicate the physiological action of music on the nerves and muscles. (515.) The psychology of piano instruction was gone into, to some extent, in the Cornell laboratory. Learning to play the piano, like all learning processes, involves the acquisition of certain associations, which, with repetition, become habitual. The point in the investigation was whether various piano methods take account of these associations in the learning process, or whether any allowance is made for individual differences of mental com- 236 some extent mechanical automatic speech. By this, Oppenheim explained the preservation of the musical capacity. He also concluded that the musical quality may be located in a distinct area of the left hemisphere. He recalled a case where memory images were destroyed by disease in the right hemisphere, with disturbance of speech. (518. 1888-89:175.) ^ Prof. Kast observed motor musical aphasia in a singer as a result of a neck wound. Also another in a violinist and singer. The musical faculty was preserved in both cases, and both recognized their failures in musical execution. The second subject lost both vocal and instrumental music, though mental part remained. His speech returned better than his musical powers, and the whistling and singing came back better than violin. (518. 1888-89:347.) Beaumis observed a case in which the sensibility of the mem- brane of vocal cords was destroyed by cocaine, without altering the accuracy of song. He therefore concluded that muscle sense plays its role in giving accuracy to notes. (517. 1887-88:205.) The purpose of introducing, at this point, a somewhat ex- haustive presentation of the subject as treated in the psychological laboratory, is to bring out definitely and clearly, the fact that (so it seems) scientific research work is the fundamental cause for the rapid change in attitude and educational status of music in the last decade. Heretofore, science accepted the statement of musicians, that music was (1) a matter of practice, (2) that it belonged to the realm of pure genius, and in this sense, to be set aside from investigation and study, as an anomaly or unusual growth not subject to natural research. At the same time, the larger movement in purely educational lines has expanded itself, until it is touching all phases of thought connected with mental growth in every field. As a logical result, many of the methods used in musical culture, besides being opposed to the laws of nature and growth, and hence positively vicious, have occasioned the demand for a method based upon sound pedagogical and rational principles. The contact of scholastic and musical study upon the public school curriculum has resulted in this investigation and inquiry. A survey of the preceding pages will lead to the conviction that psychology, with its closely allied field education, must be the fundamental sciences to shape the method and study of this important phase. Only a superficial study shows the art to be of so complex a nature, that only by laboratory methods, characterized by careful investigation, can we hope to acquire the benefit and profit which such a training promises. Laboratory study has revealed also, in the study of abnormal and unusual cases, that study along musical intelligence explains phenomena not well understood. 237 My own investigation in this state, concerning the real extent of private study, together with several studies of like nature,, show a universal tendency and necessity for such development, which can be nothing but fundamental. There is little doubt, it appears, that we are on the eve of working out truths and educational principles along this line, which will not only reverse the attitude entirely, but completely revolutionize the manner of teaching and the nature and preparation of the teaching body. The strong tendency to procure highly prepared specialists, combined with the higher salaries when such can be secured, point to the possibility of the profession, as assuming an import- ant place upon the college curriculum. ' Owing to its peculiar power to hold and retain the interest and attention of youthful minds, added to its triple aspect as an art, a language and a science, its possibilities, when treated in a community sense and as a means of binding children together in large social units, has not yet approached the threshold of real- izing its ideal application. If such a state ever materializes, we must study scientifically the fundamental principles underlying the craving for the popular music, as well as that of the cheaper vaudeville or picture show, i. e., what is the dominant note which attracts? The point is an important one, since the cases cited in the municipal section of this thesis show that the same class of individuals lend their appreciation even more readily to the highest and loftiest types of composition and artists' productions. There seems to be but one conclusion, that, in the absence of the more elevating and ennobling phases of the art, the baser and cheaper forms are sought, since the instinct is one which demands satisfaction. The peculiar power of musical presentation upon the emotional faculties, makes this art in its uncared for stage extremely open to grave dangers, especially in the younger and more succeptible minds. The present study has shown this class to be larger than has been realized, even by those who have given some consideration to the problem. As the study exists now, without the sponsorship of any especially recognized field of education, added to its power not paralleled in any other field, it has clustered about itself, many of the most vicious evils of our day in the educational and pedagogical lines of thought. It is then, owing to its extreme complexity, to its quality as touching upon several educational fields, and to the high degree of specialization required before scientific study is made even possible along these lines, that we must assign to the laboratory, and predominantly that of psychology, the task of evolving in the coming generation, if not a completely satisfactory type of 238 art education in our system of school life, at least, a realization of one which may in all dignity, .take the place of our present conditions. It must be one which recognizes correct scientific knowledge of the mind, of physical growth and its possibilies, and of the nervous system, whether applied to the teaching or the learning process. SUB-CHAPTER 2. STATUS OF PRIVATE LESSONS IN UNITED STATES. In answer to my questionnaire, the following states replied definitely that credit was being given for private lessons outside of school. North Atlantic Division North Central Division Vermont Indiana (undecided yet) Rhode Island Minnesota Missouri South Atlantic Division South Dakota West Virginia Nebraska Kentucky Kansas / South Central Division Western Division Texas Washington Oklahoma Oregon California Fourteen give credit, Indiana has the matter before the board, Connecticut, Delaware, Tennessee, Louisiana, New Mexico and Nevada answered no. The answers from Florida, Ohio, Montana, Wyoming and Idaho showed that the super- intendents either did not know or did not think so. Since replies did not come from some of the older and well developed Eastern states, it is very safe to infer that more states are giving outside credit than those mentioned. In regard to whether the credit was equal to that of other studies, eight gave definite answers as follows: South Dakota gives credit equal to laboratory or one-half the regular recitation, Missouri to the extent of one high school unit, Nebraska does not give equal credit, Kansas does if compared with equal or similar subjects, Washington does. Oregon does if the practice equals eighty minutes a day. The majority made no attempt to answer this question, probably feeling uncertain about the exact status of the subject. The appended clipping was cut from a recent Lincoln daily and is worthy of direct quotation: "State Superintendent of Schools C. P. Gary has established the policy of giving Wisconsin high school pupils credit for work in music, done under private instruction by certified teachers. 239 " 'We have learned that it is wise to encourage musical training/ said Mr. Gary. 'While the schools have musical exer- cises and musical instruction, it is impossible for them to give such a high order of training as many wise parents want their children to receive. Where parents are inclined to provide private instruction, it seems only reasonable that the children should be credited with it so that the burden of their studies may not become too great. Accordingly, such pupils are allowed to substitute music study for work that would otherwise have to be done in school. Sometimes girls find higher mathematics very burdensome. It is difficult to say that algebra and geometry are needed by them more than excellent instruction in music.' " (538.) The report of the school committee of Boston, 1913, contained this clause: " Pupils should have instrumental practice outside in institutions and with private teachers, with periodic tests on same." (6. 1913:44.) In the report of the "Present Status of Music in New England, New York and New Jersey," six towns were allowed credit for private study in music, of which three were in Massachusetts. The locations of the other three were not given. (476. 1911 :217.) As early as 1906, out of an enrollment of eleven hundred in the Hartford high school, seven hundred .children took private lessons. (471. 1906:76.) The following statistics were taken from a report of private study, done by children in the grades and high schools of Hart- ford, Connecticut, 1913. Out of 13,679 enrolled, 4,133 studied privately, thus nearly one- third of the school population. With one lesson a week at a cost of fifty cents, $82,660 would be the annual expense. It was found that the cost per lesson was fifty cents to five dollars. The grammar schools showed 25% study- ing, the high schools had 57% doing private work, a gradual increase in number as the grades go up. The girls had a per- centage of 33, the boys 21. There were 1,271 boys studying. Out of the 4,133 studying privately, 3,173 were piano students, 571 studied violin and were mostly boys. The mandolin was a favorite instrument in the grammar grades, the cornet following second. Other popular instruments were the church organ, viola, 'cello, bass viol, flute, clarinet, fife, French horn, trombone, harp, banjo, guitar, zither and xylophone. The high school showed the mandolin and guitar also leading, and about the same other instruments. Two hundred ninety- two piano teachers were employed, forty-five violin teachers, ten cornet teachers, eight of banjo and mandolin, three of flute and thirty-two in voice culture. Eighty- five boys in the grammar schools were taking voice culture, possibly on account of the number in boy choirs. The total number of voice students in the grades and high schools was one hundred seventy-two. 240 BY NATIONALITY Foreign born parentage 12% to 18%, three upper grades 40%. Hebrew locality 20%, upper grades 56%. Wealthy section 60% and 73%. The above deductions were made by Mr. Baldwin himself in compiling his report, and have been recorded just as he tabulated them. The next pages give the figures from which he drew his conclusions : GRAMMAR SCHOOLS (Total enrollment 12,132, girls 6,060, boys 6,072) Girls Boys Total % Girls % Boys Total % Piano Violin Other instruments . . Voice 1,790 104 39 49 694 359 133 85 2,484 463 172 134 29 2 6 7 11 6 2 1.4 20 4 1.5 1 Total 1,982 1,271 3,253 44 21 27 HIGH SCHOOLS Total Other Total % of enroll- Piano Violin instru- Voice music music ment ments students students Post-graduates . 7 2 3 5 71 Seniors 241 121 9 11 6 147 61 Juniors 284 133 27 12 7 179 63 Third class 418 206 27 6 6 245 59 Fourth class 597 227 45 16 17 305 51 Total.... 1,547 689 108 45 39 881 57 SUMMARY OF GRAMMAR AND HIGH SCHOOL RECORDS I GrammarSchools 12,132 2,484 463 172 133 3,252 27 High Schools . . . 1,547 689 108 45 39 881 57 Total 13,679 3,173 571 217 172 4,133 30 241 GRAMMAR SCHOOLS BY GRADES Total enroll- ment Piano Violin Other instru- ments Voice Total music students % music students I. . II. . III. . IV. . V. . VI. VII. . VIII. 1,770 1,828 1,467 1,506 1,375 1,233 1,182 876 33 111 160 273 319 377 432 390 1 18 23 56 62 62 98 72 1 1 8 13 23 30 29 35 I 16 28 15 24 28 35 131 193 358 432 484 583 525 2 7 13 20 31 39 49 60 IX 895 389 71 .32 19 511 57 Total 12,132 2,484 463 172 133 3,252 27 GRAMMAR SCHOOLS BY DISTRICTS Total enroll- ment Piano Violin Other Instru- ments Voice Total music students % music students %in upper grades South . . West Mid Northwest Arsenal Northeast Wash. St Southwest Brown HenryBarnard . 3,676 935 931 1,399 1,042 1,050 214 1,435 1,450 682 357 292 292 213 310 51 122 165 173 30 28 73 36 41 6 27 49 57 22 13 19 11 16 1 14 19 18 36 11 13 8 6 5 11 25 930 445 344 397 268 373 63 174 258 25 48 37 28 26 36 29 12 18 49 73 66 56 46 65 71 40 40 Total 12,132 2,484 463 172 133 3,252 27 56 (478. 1913:179.) The following census was taken in Salt Lake City, to ascertain the number of children studying privately: The circular was sent to twenty-six schools, eighteen answering. Eight thousand five hundred sixty-seven pupils were represented in the eighteen schools. Of this number, two thousand four hundred eight or 28.1% were studying some instrument, distributed as follows: Boys Girls Piano 1,612 (chiefly in 5th and 6th grades) . .474 1,138 Cornet 32 28 4 Violin 486 337 149 Clarinet 13 13 'Cello 7 .5 2 Trombone .... 5 50 Guitar 33 Mandolin 121 Harp 5 The highest wave was in the fifth and sixth grades. The 242 percentage of those studying privately would have been raised considerably with a full report of all schools. (478. 1913:179.) In Oak Park, Illinois, last year 40% of the grade children took private lessons. About 25% of the high school students were studying. 8% of the total number enrolled thus, were receiving credit equal to that of any other subject upon the curriculum. (478. 1914:154.) The results of a questionnaire sent out by the Washington state board of education have just been received. It is so com- plete in form that it will be included in the thesis just as sent. (4086.) The board is planning to allow high schools to credit private instruction in music, with reports of work, and an examination at the end of the semester. It is planned also, to require the study of musical theory along with study of applied music. The superintendent further adds, "we are thinking some of outlining a fine arts high school course, similar to industrial arts course on the present outline, except that music or fine arts (drawing, painting, etc.) would be substituted for the industrial subject in each year. The tabulated results of the questionnaire follow: QUESTIONNAIRES ON CREDIT FOR PRIVATE INSTRUCTION IN MUSIC. Number of questionnaires sent out, 180. Number of high schools questionnaires were sent to, 133. Number of replies received, 73. Question 1 . Do you favor giving high school credit for private instruction in music? Yes, 54; no, 11; qualified, 6. Question 2. If so, what forms of musical study should be recognized? Vocal? Yes, 58. No, 1. Qualified, 1. Piano? Yes, 57. No, 1. Orchestral instruments? Yes, 48. No, 5. Question 3. Have you had any experience with any plan of giving high school credit for private instruction in music? Yes, 17. No, 48. The plans used chiefly seemed to be those where a definite amount of work was required, with a suitable statement of same, and sometimes the approval of the work by school authorities was required. Twelve reported their plans as satisfactory, two gave qualified reports. Question !+ At what stage of study should the work be accredited; that is, should those just beginning to study voice, piano, or an instrument receive credit, or only those advanced in the study? Number favoring former, 21. Number favoring latter, 16. Doubtful, 2. The most of those experienced with crediting private instruction seemed to favor the latter. Question 5. Is there any demand in your school for credit for private instruction in music? Yes, 33. No, 27. "Slight," 2. "No, but would be," 4. Question 6. How many pupils in your high school are taking private music lessons? 49 replies reported a total of 760. How many are taking music courses in high school? 37 replies reported a total of 3,222. Question 7. What courses in music are you offering regularly in high school, and what is the amount of time required for each course? Seven replied that they had no courses. Fifty replied that they had some courses. The courses and amount of time varied widely, no two schools handling music courses alike. The majority offered chorus work once, twice, or three times 243 % L week In some there were boys' glee clubs, girls' glee clubs, orchestra, and vocal courses. In a few there were courses in theoretical music, appreciation, theory history and elementary harmony. Question 8. How many private music teachers instructing your high school pup^ are non - reside ^ ( te N o b n J n 21 5 4 S me ' 35 ' The tOtal ""^ PrlV Q^estoon C 9 ^Do^you have a regular music teacher in the high school? 14 regular high school music teachers were reported. Or do you have a super- vise? wo divides her time with the grades or with other lines of work? 39 What are the qualifications of your music teacher or super- visor Is she a high school graduate? 43 were so classified What literary or academk "training has she had above the high school? . 34 reported some advanced literary work, which varied from a few months in a higher institu- tion to a fuU bachelor's course in a college or university. State the musical tracing she has had. 34 were reported as having musical training. For 8 there was no report The preparation reported covered a wide range, from a school of music conducted by publishing houses, to ! be li-ited to Yes* 37 No, 21. Two, 10. It is probable that some reported it: ies, of. i> u A ? AWV, j.v. ** -~ i-*' ----- * u i with more particular reference to credits earned putside of school !~QuMonlZ. In case credit for outside study is given, what should be the nWber and length of the music lessons and the amount of practice required for STunit of credit? While the answers to this were various, there was a omewhat sim lar standard expressed. Many used the phrases: "Equal to thTt of anv ither subject," or "equal to a regular laboratory stJbject " Judg- ing from the answers a reasonable requirement for one unit of credit would be a course of 36 weeks in length with two half-hour lessons a week and 6 hours of Dractice a week. This would total 420 minutes. The remainSg questions related to plans for putting into effect proposals fnr rrprUt for Drivate instruction in music. Plan I The music teachers of a city or town are approved, and the credits which they recommend to be given their pupils are allowed Plan II The work of the pupil is credited after examination ^before a qualified committee. In each case, statements would have to be filed as to the scope of work, amount of practice, etc. T ^ Question 13. Which of these plans do you think is better? Plan I, 35. Plan II, 29. "A combination," 2. QUESTIONS ABOUT PLAN I. board, 2. County superintendent or state department, 4. County board, I Qulstion V lT' Would a system of local approval of music teachers prove No 30. Qualified, 8. . , , ere 'anv likelihood of arousing ******$* ' Option' QU Do'you have qualified, disinterested persons who could determine whether or not the local teachers were qualified? Yes, 22. I QUa Ques(io 19. Woul3 it be advisable to allow any private organization to j pass judgment on the qualifications of music teachers for these purposes? Yes, 6. No, 43. "Advisory," 1. Question 20. Would it be advisable to certificate through the state board ! of education, or otherwise, music teachers who desire their work to be accred- ; ited? Yes, 49. No, 4. Qualified, 2. QUESTIONS ABOUT PLAN II. Question 21. Who should make up the committee to examine pupils? Few of the answers were the same as to the complete committee. Most of the replies included the supervisor of music and a local musician. Some included the principal, superintendent, and additional musicians. Question 22. How should the members be chosen? By local authorities, superintendent, principal or board, or combination of superintendent and board, 22. State superintendent, 3. County superintendent, 2. Musical art society, 1. Question 23. Would the system of choosing which you propose be reason- ably certain of providing competent persons for the work? Yes, 28. No, 2. ''Fairly," 1. Question 24. Are there plenty of local musicians, fully qualified and im- partial, who may be secured for the work? Yes, 22. No, 16. . Question 25. Could this committee serve to examine pupils in the several lines of instrumental study? Yes, 23. No, 10. Doubtful, 1. Question 26. If not, what would you do for examinations in those lines in which the examining committee were not proficient? There were few answers. More favored securing competent persons outside the committee than any other plan. Question 27. Would it be advisable for the music supervisor to serve on this committee? Yes, 28. No, 4. Qualified, 1. Those who favored having the supervisor serve reported that the supervisor would be most competent and that the school should have some representative in the awarding of credits. Concerning the plan of having applied music taught in the school, the com- ments were interesting. Question 29. What is your opinion of this plan? Good, 34. Too ex- pensive, 10. Impractical, 9. Question 30. Do you think it may prove feasible in the course of time? Yes, 31. No, 1. "Possibly," 11. Question 31 . Would it offer a final solution of the problem of instruction in music for high school pupils? Yes, 27. No, 12. Qualified, 8. (4086.) This tabulation is without doubt one of the most interesting received from any section of the country. However, it has the usual difficulty of research gained through questionnaire. Ap- proximately only half of the high schools responded. The last questions concerning the possibility of applied music upon the public school curriculum, have brought answers which show that school boards and colleges are not keeping pace with shifting conditions and the general public sentiment. There seems little doubt but that the general masses are more ready for the innovation than school authorities, who fear to take so radical a step. However, the present study has shown that attempted school supervision could not be worse than present conditions, even though apparently not so successful at first trial. This entire thesis study has been built upon the idea that musical instruction should be treated as a study upon the curri- culum and without any distinction as to educational value. Close study has convinced the author that such a course is not only possible but highly advisable. bfl .s 73 1 H tO CO 05 rH rj< 00 O rH CO CO t- CO "* OO rH rH CO rH rH 1 i-T 3 02 5 - 02 T! 3 COOO LO -^ rH COOOO t-OOrH IO CO O rH CO CO rH rH rH CO 8 02 I PQ rH COCO^IOCO rH CO rHCO t- rH CO ~o i fa.! 3 ^ T}< rH T^ tO t~ t- "^ CO CO CO IO rH IO t- OS eo ! 3 ^OCO t-OOOirH COOOIO COCO ,_! ,_! rvj ^H T I CO rH 1 1 00 03 O PQ rH O CO CO CO CO Tt* O COOO OlO rH 02 /-^ rH CO a i 02 T! 3 rHCOrHCOrH CtfrH rH rH o3 J CJ H 1 Si s b- 02 O PQ _ o 00 g 3 tf OJ J2 3 Cr^* CO O> T^ rH CO CO ^O ""^ OO OS OS r C3 ^O "^ r-T, 1 CO CO CO C rH C rH OS CO rH 5-f I O Q 'O r <1 CO 1 co coococooorH oocoOcot> rH rH rH ^ 10 10 ogg 01 J/2 3 CO Tj< t- OS Tl< O OO T^ O OO ^ OO 00 ^J< rH rH CO rH O CO rH _fH t-H H- 1 ^3 1-3 ?H a Q i 02 O PQ COOCOOOSCO rHOO^OO ^"<# rH CO g 0> GO 1 1 3 COCOrHrHCOOOCOOCOCOlOCOU^CO rH rHCO CO rH rH CO rH G W PQ Vj >^ X 03 I PQ tOOlOlOlOf-COOCOCOO Os'rH CO CO rH O CO 1 & & * i 3 CO rH CO OS -g "d CO i PQ OrHCOCOCOt-COOOrHOOOCOrHCO o 1 0) 3 CO^COOOCOCOOSOOOOOO^rH^ CO co S i OOCOCOCOCOCOOrHrHO>OrHrHrH CO i I '6 OOOrHCO^COOOrHOrHOCOrH rH rH OS CO 1 2 i: PQ rH rH 1 ll Sill 111^1 11 11 3 o PH 2 J> r? O o CO PQ S-^ - PQ - lOCOOOOOOOOOCOrHOCOCOOOO i-< r-t W CO i-l i 1 rH i-l rH OOrHOOlNOO OOrH OO O O CO O i-H rH r-l O OOrH OO 'In OOrHrHCOCOrHrH'-ii-IOrH^OrHO o 5 OOOrHOiOOOOOOCO (M (M OOOO(MCOOOOrHOOrHrH(M OrHrHOCO <> o o i CO 1 o 1 clarinet fi 2 cornets 1 clarinet 1 'cello j 1 cornet 2 clarinets 2 trombones o g o u- i 5 1 cornet o 1 o ll o a n S 03 i 1 cornet 2 horns 1 c'.arinet 1 cornet 1 o o O) 3 13 o - o 1 cornet | T 3 o 1 mandolin o o * o - f DO -2 t, ill 1 cornet o o ij we 04 o o o t- j r. T: 3 o o o o o 4 H S I o c 1 Js o o 1 6 M o o L- | 1 3 o o o o s I o = o o i 3 o o o o - .= ~ I S 1 o o o o o Bancroft . . ,- i 1 Clinton . . . ti 3 a Everett. . . Hayward . Longfellow McKinley. 1 j Randolph Saratoga . Whittier. . 1 1 3 CO rH OO O OO Tj< CO oo 10 - rH UO rH 1 09 J2 3 00 CO CO rH OO CO i PQ rH rH rH t~ CO rH (M 10 | 05 3 rH rH CO rH 00 i PQ rH t- CO ^ 1 OO CO rH ( ^O 1 i 3 CO CO O5 rH 10 rH rH t- rH t^ 03 O PQ 00 OO CO O5 ^ rH rH 00 00 (_ 05 % 3 05 CO CO. rH o 10 00 rH pfl -t-j CO PQ .U3CN IO 05 i X (-4 O O CO -^ COrH rH CO rH 10 1 PQ (M t-rH o rH oo 1 3 >> J2 3 050 CO 05 CO en I rH CO i.fr-g'JS 03 0> i! 250 Total piano in grades 1,203 Total piano in high school 102 1,305 Total violin in grades 181 Total violin in high school 15 196 Total voice in grades 48 Total voice in high school 20 68 Total orchestral instruments in grades 83 Total orchestral instruments in high school ... 5 88 Grand total studying 1,657 Approximate cost at 75 cents a lesson: One lesson weekly $1,242.75 Cost per month 4,971 Cost per nine months 44,739 This estimate is probably lower than is actually true, since many were out when the questionnaire was taken up, on account of measles. In addition, a number take two lessons a week, some pay a dollar or perhaps more at a conservatory, while still other children study the entire year, instead of only during the nine months of school. A number of children were expecting to begin in the near future, but were not included in the list. It will be noticed that one hundred ninety-six study violin, with eighty-eight orchestral instruments, a total of two hundred eighty-four, and sufficient to form two very large orchestras. The instruments which may be legitimately listed for the orchestra are distributed as follows: Flutes 2 Bugle 1 Horns 9 Snare drums 3 Cornets 28 Violins 196 Clarinets 7 'Cello 1 Trombones 3 Instruments not named . . 14 Those not available for orchestra: Guitars 4 Accordions 4 Mandolins 4 Guitar zithers 3 With a city grade school enrollment of 7,395 pupils, and 1,657 studying privately, practically 22% are burdened with this outside work, including the high school (1,241 enrollment) 19 + %. Of this entire number, only twenty- two pupils receive credit for their study in high school. These students carry prescribed courses in theory in order to secure the same. Credit has not been attempted in the grades where the largest number study. The following characteristics are noticeable in the distribution of musical study among Lincoln school children. The highest point for boys in piano is approximately the fourth grade, for girls the sixth. Boys' curve increases slowly, girls' curve a very even ratio of thirty, much faster than boys. The latter decline in piano study much faster than girls. The instrument loses 251 favor with boys as soon as adolescence approaches, since it is often regarded as a girls' sphere in musical study. This difference was shown in taking up the questionnaire in the grades. Boys favor the violin more than girls, and with both sexes, the numbers studying remains more constant. Approximately three times as many grade girls study piano as boys, nine times as many in the high school, and twice as many boys take up violin. More than twice as many girls study voice. In the orchestral department, boys are found to take up wind instruments, and predominantly so when piano interest wanes, about fifth grade. The robust, vigorous tones and physical exercise demanded seem to suit th : s developing age. Bands and band practice are peculiarly interesting to the boy in these grades. The same preference is strikingly shown in the statistics for the state, which follow this study of the Lincoln schools. It will be noted that the violin, which requires more subtle emotion, and the use of the finer muscles, does not find great favor with the boy in the grades. Possibly this is owing both to his natural awkwardness, and a demand for more violent expression of his feelings, hence a liking for the band instruments. Of these, the cornet is by far the most popular, probably because it is easy to learn, and gives the beginner more rapid results, even without a teacher. With the same encouragement for the study of wind instruments as is given to piano or violin, the number would doubtless increase very rapidly. The following tabulation was made from the statistics of the four towns just given, and in widely separated parts of the United States. A comparison reveals some very interesting points, as well as striking similarities. Enroll- ment Music pupils Per cent studying t Approximate cost at 75 cts per lesson once a week for 9 months Grades High School 1. Hartford, Conn 1913 2. Lincoln, Nebr 1914 3. SaltLakeCity,Utah. ? 4. Oak Park, 111 1913 13,679 8,636 8,567 ...... 4,133 (33%) 1,657 (19%) 2,408 (28%) 25% 22% 40% 57% 12% 25% $111,591 44,739 65,016 Sex distribution Boys Girls Piano Violin 1. 1,271 2,862 3,173 571 (mostly boys) 2. 522 993 1,657 (includes H.S.) 181 (mostly boys) 3. 862 1,293 1,612 486 252 HIGH WAVE OF STUDY BY GRADES Piano Violin Voice Other instruments All instruments 1. VII VII IV-IX constant V-IX constant VI 2. IV boys-VI girls . . (No striking points) VII 3 V-VI This comparison shows the following tendencies: Piano study as the earliest form with approximately twice the number of girl students. Violin has the reverse ratio, two to one in the boys' favor. They predominate still more in orchestral instru- ments, especially wind; girls preferring mandolins, guitars, etc. Hartford and Salt Lake City show the mandolin and guitar as a favorite, cornet ranking third in the latter city; Lincoln grade children tend to cornet study as lead, and followed by other brass instruments, the more trivial, as the guitar, finding less favor. Salt Lake City lists 216 students of orchestral instruments, of these 121 are mandolins, 33 guitars, over two-thirds of the entire number. Of the 83 such students in Lincoln, one-third are cornet. So far as the statistics reveal, Lincoln shows the more serious study in the orchestral field, and more hopeful prospect of future child orchestras. 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