OniYersity ol the State Entered as second-class matter August 2, 1913, at the Post Office at Albany, N. Y., under the act of August 24, 1912 Published fortnightly No. 708 PAGE Ultimate aims 3 Care of the singing voice 3 Teaching the language 4 First year 5 Second year 7 Third year 9 Fourth year 13 Fifth year. 14 Sixth year 16 PAGE Seventh year 16 Eighth year 17 Manuals for teachers 17 Music textbooks for children 17 Rote song books 18 Seventh and Eighth Grades. .... 18 Supplementary sight reading ma- terial 19 Texts for supplementary reading. 19 ALBANY THE UNIVERSITY OF THE STATE OF NEW YORK I920 Gl04r-My20-5000 (7-8069) THE UNIVERSITY OF THE STATE OF NEW YORK Regents of the University With years when terms expire (Revised to July is, 1920) 1926 Puny T. Sexton LL.B. LL.D. Chancellor - - Palmyra 1927 Albert Vander Veer M.D. M.A. Ph.D. LL.D. Vice Chancellor Albany 1922 Chester S. Lord M.A. LL.D. Brooklyn 1930 William Nottingham M.A. Ph.D. LL.D. - - Syracuse 1924 Adelbert Moot LL.D. Buffalo 1925 Charles B. Alexander M.A. LL.B. LL.D. Litt.D. - Tuxedo 1928 Walter Guest Kellogg B.A. LL.D. - - - Ogdensburg 1932 James Byrne B.A. LL.B. LL.D. New York 1929 Herbert L. Bridgman M.A. LL.D. - - - - Brooklyn 1931 Thomas J. Mangan M.A. Binghamton 1921 William J. Wallin M.A. Yonkers 1923 William Bondy M.A. LL.B. Ph.D. - - - - New York President of the University and Commissioner of Education John H. Finley M.A. LL.D. L.H.D. Deputy Commissioner and Counsel Frank B. Gilbert B.A. LL.D. Assistant Commissioner and Director of Professional Education Augustus S. Downing M.A. Pd.D . L.H.D. LL.D. Assistant Commissioner for Secondary Education Charles F. Wheelock B.S. LL.D. Assistant Commissioner for Elementary Education George M. Wiley M.A. LL.D. Director of State Library James I. Wyer, Jr, M.L.S. Pd.D. Director of Science and State Museum John M. Clarke D.Sc. LL.D. Chiefs and Directors of Divisions Administration, Hiram C. Case Agricultural and Industrial Education, Lewis A. Wilson Archives and History, James Sullivan M.A. Ph.D. Attendance, James D. Sullivan Educational Extension, William R. Watson B.S. Examinations and Inspections, Avery W. Skinner B.A. Law, Frank B. Gilbert B.A. LL.D., Counsel Library School, James I. Wyer, Jr, M.L.S. Pd.D. School Buildings and Grounds, Frank H. Wood M.A. School Libraries, Sherman Williams Pd.D. Visual Instruction, Alfred W. Abrams Ph.B. c fl/Y *>o. 7 (jf Dniversity ol the State oi Hew York Bulletin Entered as second-class matter August 2, 1913, at the Post Office at Albany, N. Y., under the act of August 24, 1912 Published fortnightly No. 70 S ALBANY, N. Y. April 15 , 1920 Elementary Syllabus MUSIC The course in music here outlined covers eight years and assumes that not less than fifteen minutes a day shall be given to class instruction. Regardless of grades or of thj^e the work outlined for the first year must be mastered beioWy»fna(/^bf ithe second year is attempted. The same princiftleA.must be appliea to the work of each successive grade. ^ ' 2 7 /(^C AIMS U ^SITY of IL , Among the ultimate aims, the two following should always 'be kept in mind by the teacher: (i) on the emotional side, the joy which music brings into the life of the child; ( 2 ) on the physical side, the well-modulated and controlled voice which is always an evidence of good teaching. These ends can be accomplished only through the balanced study of music both as an art and as a science. The appreciation of the art of music involves continual asso- ciation with good music. This association includes the participation in and the hearing of the good. While the child can not participate in many of the masterpieces, nevertheless these masterpieces can be brought to him through instrumental and other means. The understanding of the science of music involves the mastery of the mechanics of the subject, which are as exact and definite as are those of language and mathematics. The understanding of the science of music, therefore, is fundamental to the full appreciation’ of the art. CARE OF THE SINGING VOICE The most important feature of music teaching in the schools is the securing of correct tone quality. The one true and safe way for children to sing is with a sweet, mellow, flutelike and musical tone which is produced without effort or strain. The teacher’s ear must be trained to recognize this quality of tone. She should learn to secure and maintain it at all times. The teacher can hear [ 3 1 4 THE UNIVERSITY OF THE STATE OF NEW YORK it by having several children sing softly the pitch D, fourth line, treble staff, with the syllable " loo.” thus I ■ Loo, loo, loo. This quality of tone should be used throughout the compass of the voice. The compass of the music used in the first year should not extend above F, fifth line i nor below E flat, first line The compass may be extended a half-step above and below, each year, for two years. The first songs and studies should begin with upper tones. The ascending scale, and songs beginning with low tones, should be avoided at first. The true singing voice of the little child is very light. Unless constant care and intelligent direction are given to tone production, the tone will inevitably degenerate into harsh, throaty, unmusical quality, injurious alike to the voice and to the musical sense. Careful study of one or more of the following books, all of which are inexpensive, will be of invaluable assistance to the teacher : Howard, F. E. The Child Voice in Singing. H. W. Gray Co. Hardy, T. Haskell. How to Train Children’s Voices. J. Curwen & Sons Curwen, J. Spencer. The Boy’s Voice. J. Curwen & Sons Rix, Frank R. Voice Training for School Children. Nicholls, Margaret. School Choir Training. Novello & Co. TEACHING THE LANGUAGE (Reading and Writing Music) The first steps in music are very much like the first steps in learning English, French or any other spoken language. The pupil first learns through imitation to speak the language. When a certain facility -in oral expression is attained, the pupil is ready for the second step, namely, the recognition of symbols representing thought. The medium for thought and expression in language consists of words. The medium for thought and expression in music consists ELEMENTARY SYLLABUS MUSIC 5 of tones and rhythms ; these are the “ words ” of the tone language. Ability to recognize and use this medium is as necessary to thought and its oral expression in music, as are words to the spoken language. FIRST YEAR First Term Matching tones. Individual attention daily to those who can not match tones. Simple rote songs. Second Term Rote songs, including scale songs, the so fa syllables used as an additional stanza. The scale. Systematic practice of scale with syllable names. Aural recognition : a Simple melodic groups of scale tones. The teacher sings with a neutral syllable, the pupil or class responds, singing the syllables. b Two and three-part measure. The teacher sings or plays a melody, the children listen and try to recognize the measure. Representation (on blackboard by teacher). Melodic groups of scale tones without skips (whole notes). Reading. From chart or blackboard, groups like those previously recognized and sung. Suggestions to Teachers The first years work must be mastered before going on with the second year. Music, being a tone language, is learned through the sense of hearing; all problems are therefore best presented orally. No symbol or representation should be introduced until the thing repre- sented is known to the pupil. Each teacher should be provided with a staff-liner and with a chromatic pitch pipe, unless a piano or an organ is at hand. The compass and character of the songs have a vital influence on the tone quality. Songs and studies, pitched too high or low, will cause serious deterioration of the tone quality. The first step is to find which pupils can not match tones. These should have individual assistance each day until they can join in the singing. 6 THE UNIVERSITY OF THE STATE OF NEW YORK “ Playing engine ” with the so-called monotones is a simple and effective way to eliminate the nonsingers. The teacher sings and the child tries to imitate the tone. Suc- Too, too, too cess depends upon the ability of the teacher to awaken the imagina- tion of the child and lead him to think the light, high-placed tone. No child should ever be told that he is a monotone. Very few children are real monotones. Under a teacher who intelligently follows the above simple plan, nearly all the nonsingers will be able to match tones after a few weeks, although at the beginning of the first year, one-third or one-half the class may be unable to do so. The sense of rhythm may be awakened and trained by the use of rhythmic motions to music, singing games and folk dancing. These activities are strongly recommended as a part of the first year's work. The type of singing games demanding vigorous physical exercise while singing should be carefully avoided. Songs for the first year should not be long. Both words and music should be of the simplest character. The teaching of rote songs is the most important part of the teach- er’s work during the first year. Just how a rote song is to be taught depends on conditions, such as the character of the words and the age of the class. No stereotyped method is necessary or desirable, yet there are certain features which are common to every success- ful presentation. 1 The teacher’s singing voice should be safe for the child to imitate. Every woman singer, whether soprano or contralto, can learn to use a light, pleasant quality and can sing the songs at the proper pitch. The contralto possesses the light, upper tones and should learn to use them. The teacher should never change the pitch of the song because of a notion that she can not sing the high tones. Songs often need to be transposed to higher keys. 2 The songs should first be thoroughly learned by the teacher and then sung to the children as artistically as possible. The children will imitate an artistic performance. They will also imitate a crude, unmusical interpretation. 3 The entire song should be sung to the children several times, the children listening, then imitating. After the first phrase is sung accurately, the second is taken up in a like manner. The two are then sung together, and so on. ELEMENTARY SYLLABUS — MUSIC 7 4 The melody must be accurately sung by the pupil. Even one mistake in tone or rhythm causes serious trouble and loss of time. After a class has learned a melody incorrectly, it often takes longer to correct the error than to learn a new song. 5 The words must be sung distinctly and naturally. Extra- ordinary care is necessary to prevent misunderstandings and mis- pronunciations by the children. 6 Too much should not be attempted at one lesson. Half a stanza well learned is better than two stanzas half learned. Rote songs may also be taught successfully by means of grapha- phone or phonograph records. Not only the words and melody but phrasing, tone quality, and other important features of good singing may be learned from the record. The use of carefully selected records is strongly recommended for all grades from the kinder- garten to the high school as a means of musical education. Quicken- ing of the tonal and rhythmic sense, appreciation of the beautiful in music, familiarity with a variety of forms and with a large repertoire of good music — these valuable results may be obtained from a judicious use of self-playing instruments in the schools and in the home. SECOND YEAR First Term Rote songs. The scale. Varied practice of the major scale including the com- pletion of the scale from any tone after the pitch of do has been changed — that is, continuing the scale practice from the new pitch. For example, i£g-' -jy- # - i n Do ti la so fa mi do , Do re mi fa so do, Do ti la so fa Aural recognition. a Recognizing and singing groups of scale tones. Skips of a third and all the skips of the tonic chord. b Recognizing two and three-part measure. Representation. The teacher places on the blackboard short, simple melodies in two-part and three-part measure, without bars 8 THE UNIVERSITY OF THE STATE OF NEW YORK or measure signature. The teacher sings while the children listen and beat the measure. Then a child indicates the accent and places the bars. Reading. From blackboard or chart. Writing. The teacher sings melodic groups of scale tones with a neutral syllable, the pupil responds singing with the syllable names, then represents the tones on the blackboard. Second Term First term activities continued. Reading from book. Suggestions to Teachers The first book to be used by the pupil, presumably begun in the second term, should contain very simple material furnishing abundant practice in the limited “ vocabulary ” of tone and rhythm which has been acquired by oral practice and blackboard repre- sentation. The music reading vocabulary of these pupils consists of those tonal and rhythmic problems which they know and recognize, first through the ear, and later through the eye, by means of blackboard representation. The time for beginning the use of the book, and the length of time to be taken for preliminary training, should be determined by the advancement rather than by the grade or age of the class. An upper-grade class, beginning the study of music, might do the first and second years’ work in one year, while conditions might exist where three years should be taken to do the work outlined for the first two years. Reading is getting definite thought from the representation. As soon as the pupil can hear the tones and sense the rhythm as he looks at the representation, he is ready to begin to read, but not before. The pupil should form the habit of reading silently — hearing the melody with the “ inner ear ” — before reading aloud. Reading by individual pupils should be a regidar feature and is quite as essential in music as in English. The Study of Intervals The study of larger intervals (skips) should be a part of the oral work throughout the year. When the pupil makes an error he should be led to correct it by thinking the intervening scale tones. ELEMENTARY SYLLABUS MUSIC 9 If he fails to sing for example, he can dis- cover and correct the mistakes by thinking, or if necessary by sing- ing aloud, the intervening tones. This method of correcting errors is applicable to all grades. THIRD YEAR Tonal development. Oral presentation of chromatic tones through imitation — di(ffi), ri(ff2), 4), si(# 5 ), and li(ff 6 ). Oral preparation for two-part singing both through the practice of rounds and by the sustaining of simple consonances, principally thirds and sixths. Rhythmic development. Introduction of two equal tones to one beat. Reading. Book or books containing abundant sight reading material, and art songs to be learned partly by rote. Writing. On music paper or in music writing book; copying symbols; writing from dictation. Suggestions to Teachers Introduction of chromatic tones, Di ri, fi, si and li. Each of these chromatic tones is closely related and leads strongly to the scale tone just above, as ti is related and leads to do. Each new tone, together with the scale tone to which it is closely related, should be constantly compared with do ti do. For example jt sounds like so fi so $ Again sounds like re di re P do ti do and both do ti do sound like P and so on. so fi so Pupils will readily see that the syllable for the new tone just above the scale tone is the scale tone syllable changed to end with the long ee sound: do di, re ri, fa fi, so si, and la li. They will also discover 10 THE UNIVERSITY OF THE STATE OF NEW YORK for themselves, that there is no tone between mi and fa nor between ti and do. The following sequential study should now be taught by imitation, and practised until each child can sing it individually : Special care should be given to ti li ti; there* will be found a decided tendency to sing the tone li flat of the pitch. No representation of the new tones, and consequently no sight reading material containing these tones, should be employed until the pupils are able to recognize them readily in oral ear training studies. Introduction of Two Equal Tones to One Beat The teacher sounds the key tone and directs the class to beat and sing the descending and ascending scale thus: It is assumed that the pupils clearly understand that the first tone is sung with the first beat, and the second tone with the second beat, etc. The teacher then sings the following: and asks, “ When did I sing the first tone ? ” Pupils : “ With the first beat.” Teacher : “ The second tone ? ” Pupils : “ After the first beat.” The teacher repeats this several times and then beats and sings: -li t V ^ — — M I- r r® ^ fflZ TmTai* r »* lk\ r c? /» u ^ i Ji-Ufe a? 0 i ELEMENTARY SYLLABUS MUSIC II continuing until the accent falls on the upper do, while the class beats the measure and listens. Many of the pupils will immediately double the tempo, giving one beat to each tone, thus demonstrating that they are thinking one tone, instead of two, to each beat. Before asking the class to sing, the teacher should see that each pupil beats the measure correctly while he is singing. The pupils should be reminded repeatedly that the first tone is sung with the beat and the next one after the beat. The class may now beat and sing the scale in the same manner. This and other exercises having the same object should be practised daily until each pupil fully senses two even tones to the beat. Unless the beat is indicated in some way by the pupil, the teacher has no way of determining whether or not the pupil is thinking correctly. Rhythm drills conducted in various ways should follow, including the following rhythms : n j •n x J 7 «T 7 jdt «_ When the feeling for the new rhythm is fully sensed, the class should sing much simple sight reading material which freely uses these new rhythms. This activity should continue throughout the year. Preparation for Two-part Singing (No representation; entirely oral) Part singing is a tonal problem. Until now the pupil has been matching tones. Now he is asked to sing a tone while hearing another. This is a real difficulty which requires time, practice and concentration to overcome. The simplest combination of tones without skips in either part, should be practised first. Sustained tones, in the upper part of the compass, are most desirable in order that only the light, mellow tones may be used. 12 THE UNIVERSITY OF THE STATE OF NEW YORK The teacher separates the class into two divisions as nearly equal in numbers and singing ability as possible. The directions are given orally as follows: “Section one may sing and hold, so; section two may sing, so fa mi” At a signal from the teacher the class sings this and similar combinations as follows : The two sections should change parts so that each child may learn to sing both the upper and lower parts. A moment should be spent with this oral practice frequently until the pupils gain the power to sing one tone and listen to another. The danger of forcing the tone is always imminent in two-part singing. By the use of the soft, “ head ” quality, and by first using the upper tones, the class will sing in tune and will quickly acquire the ability to sing in parts. The study of two-part music should be delayed until the ear problem is solved, thus avoiding many of the difficulties usually encountered in beginning part singing. This oral preparation care- fully and patiently conducted will enable the class to sing in two parts easily and successfully in the fourth year. No two-part songs or studies, other than the foregoing or similar preparatory studies, should be used during the third year. Songs Some of the songs can now be wholly read at sight. The more elaborate art songs should be taught by rote. The tone should be free and mellow, the enunciation distinct, and the pronunciation natural, as in good reading. Pupils should be encouraged to take breath deliberately. A hurried, “ catch ” breath leads to bad breath- ing habits and unsatisfactory phrasing. It is usually unwise for the grade teacher to give breathing exercises, but it is most impor- tant that pupils be encouraged to breathe deeply, and that they be given sufficient time to breathe properly between phrases. Children should be taught to sit or stand erect while singing, with the chest active and the head up. A full breath expands the lungs all around the waist line. Neither the chest nor the shoulders should be lifted when the breath is taken. The lower jaw should drop easily and the tip of the tongue should touch the lower front teeth. The lower jaw, tongue and lips should be relaxed while singing. A stiff jaw and tongue make good singing impossible. ELEMENTARY SYLLABUS MUSIC 13 FOURTH YEAR Tonal problems. Oral presentation through imitation of te (by), le(b6), se(b$), me(b$), and ra(b 2 ). Introduction of the minor scale by imitation. Rhythmic problems. Introduction of six-part measure. Oral presentation of three and four tones to the beat. Rhythms including those involving the dot placed after the beat-note ; for example : Reading. Book or books furnishing abundant material for sight reading. This may include simple material for the reading of words and music simultaneously. Two-part music consisting of rounds and canons, and other music in which the parts cross ; all very simple. Art songs. Writing. Written lessons on music paper or in music writing book. Suggestions to Teachers Each of the new chromatic tones, te, le, se, me and ra, has the same relation to the scale tone just above, as fa has to mi. For example, la te la sounds like mi fa mi. Constant comparison of la te la with mi fa mi which is already known to the pupil, will fix the new tone in the memory. Pupils should be led to discover that the syllable for the new tone just below the scale tone is the scale tone syllable, changed to end with the long a sound represented by the Italian e: ti te, la le, so se, mi me. Inasmuch as the syllable re already ends with the a sound, it was necessary to use another, so a was chosen (re, ra). The following study should be practised until each singing child can sing it individually : 14 THE UNIVERSITY OF THE STATE OF NEW YORK There is really no new tonal effect in the use of any of the chromatic tones ; only a new application of a known combination of tones. With this relation fully known to the pupil do fi so a ■T == : is no more difficult than do le so do so Rounds are excellent material for the beginning of part singing. The round is first sung as a unison song. Studies in which the parts cross are also desirable. Like the round, this form of two- part music compels the pupil to sing both the upper and lower parts, thus protecting the voice and giving each pupil the power to sing either part. There is grave danger that the tone will suffer after part singing begins. FIFTH YEAR Tonal problems. Singing of minor scale — harmonic form; singing of triads without representation as an aid to part singing. Rhythmic problems. Rhythms involving four equal tones to the beat by imitation, for example : Equivalents : Reading. Books containing abundant material, both songs and studies, one and two parts; development of power to read words and music simultaneously. Writing. Writing tonal groups with and without measures. Suggestions to Teachers The time when words should be applied in sight reading differs greatly with different children, and can not be determined by grades. Ability in this direction may be tested as early as the third grade ELEMENTARY SYLLABUS MUSIC 15 by means of melodies much more simple than those which are read fluently by syllable. The power to read the English text is being steadily developed in studies other than music ; reading of music is receiving attention in the music class only. The attempt to read the two languages simultaneously before the pupil possesses the power to read each separately with a fair degree of independence, is an unfortunate waste of time. Whenever sight singing of words and music is begun, right habits should be developed. The pupil should be taught to read both text and music phrase-wise, reading a line of words at a glance and concentrating attention upon the melody. Very simple material is essential for this purpose. The age and advancement of the pupils now admit of additional elementary theory. No difficulty will be found with rhythms involv- ing four tones to the beat provided the pupils beat the measure steadily and think the four tones to the heat in each case. The application of the new tonal and rhythmic features in the sight reading material, after they are introduced and understood, is of course essential. It is assumed that the pupils will be supplied with an abundance of supplementary material for sight reading. This is quite as neces- sary in learning to read music as it is in learning to read English. The material should be well within the “ vocabulary ” of the pupil, otherwise sight reading is impossible. Much practice in reading is necessary to gain facility. Not only one but several books may be read in a year, as in English classes. This is possible only when the teaching is clear and effective, when sight reading material is available which is well within the power of the class, and when there is adequate time allowed for the subject. Pupils should become familiar with the musical terms in common use. The constant use of these musical terms by the teacher when occasion arises during the singing of songs, will soon result in the addition of these words to the child’s vocabulary. For example, if a phrase is to be sung smoothly and gracefully, the teacher will use the term legato, the explanation of the term being included in the words “ smoothly and gracefully.” No formal definitions or drill is necessary or desirable. Following are the terms most commonly used : lento, andante, andantino, allegretto, allegro, presto, grazioso, maestoso, tempo di valse, tempo di marcia , legato, staccato, sforzando, pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo, crescendo, diminuendo . i6 THE UNIVERSITY OF THE STATE OF NEW YORK SIXTH YEAR Tonal development. Construction of the major scale; singing of minor scale, melodic form; singing of triads, major and minor and their inversions; singing of chromatic scale. Rhythmic development. The triplet: the duplet; classification of measure — simple measure — duple, triple and quadruple ; com- pound measure — compound duple, compound triple, compound quadruple syncopation; practice in reading from the bass staff, by both boys and girls. Reading. Books containing music in one, two and three parts with plently of good song material ; practice in reading from the bass staff, by both boys and girls. Writing. Written lessons including scales without key signatures. Practice in building scales, indicating the half-steps and tetrachords. Suggestions to Teachers The advanced work as here outlined should be undertaken only by pupils who have mastered the preceding steps. Obviously several years must elapse in any system of schools just beginning the systematic study of music, before this advanced work is practicable. Whenever the pupil’s voice begins to mature, classification becomes necessary. Assignment to a particular part is then desir- able, but not before. Extraordinary care on the part of the teacher is necessary at this period to avoid misuse of and injury to the voice. Under proper conditions most boys may continue to sing during adolescence. There are cases, however, where the condition of the voice demands a cessation from all singing for a time. SEVENTH YEAR Tonal development. Singing of the dominant seventh chord and its resolution. Reading. Larger proportion of the time given to reading words and music together. Study of one, two and three-part songs includ- ing melodies written on the bass staff. ELEMENTARY SYLLABUS MUSIC 17 Writing. The F clef and bass staff ; scales and melodies written on bass staff; writing with and without key signatures; trans- position; changing melody from treble staff to bass staff and vice versa. Suggestions to Teachers The girls, as well as the boys, should learn to read from the bass staff. It should be shown clearly that boys with changed voices singing from the treble staff, singing an octave below the representa- tion; that girls, or boys with unchanged voices, singing from the bass staff, sing an octave above the representation. Sight reading material for boys whose voices have changed, and who are beginning to read from the bass staff, should be tonally and rhythmically easy. The boy with the “ new voice ” must learn anew to use his singing voice. EIGHTH YEAR Practical application of the course in actual singing of one, two, and three-part music is recommended for the eighth year. Particular attention must be given to the maturing voices and to the selection of suitable music. One, two and three-part music for the unchanged (child) voice, or three-part music for soprano, second soprano and bass, should be selected. All loud and strenuous singing is exceedingly dangerous at this time when the voices of both boys and girls are undergoing a physical change. MANUALS FOR TEACHERS Bowen, G. O. Manual of music for teachers of elementary schools. A. S. Barnes Crane, J. E. Music teacher’s manual. Julia E. Crane, Potsdam, N. Y. Dann, Hollis. Complete manual for ‘teachers. Am. Bk Co. Farnsworth, C. H. Education through music. Am. Bk Co. Gherkens, K. W. Music notation and terminology. A. S. Barnes Newton, E. W. Music in the public schools. Ginn Rice, C. I. Worcester music manual. Charles I. Rice, Worcester, Mass. Rix, F. R. Manual of school music. Macmillan Smith, Eleanor. Teachers’ manual. Am. Bk Co. MUSIC TEXTBOOKS FOR CHILDREN Baldwin, R. L. Progressive Songs. Ginn Congdon, C. H. The Congdon Music Primers, and Music Readers. C. H. Congdon, New York and Chicago i8 THE UNIVERSITY OF THE STATE OF NEW YORK Dann, Hollis. Music course. Am. Bk Co. Johnstone, A. E. & Loomis, H. W. Lyric music series. Scott, Foresman & Co. McLaughlin, J. M. & Gilchrist, W. W. New educational music course. Ginn Parker, Horatio, McConathy, Osbourne, Birge, E. B. & Miessner, W. O. Progressive music series. Silver, Burdett Ripley, F. H. & Tapper, Thomas. Harmonic music course. Am. Bk Co. Smith, Eleanor. Modern music series. Silver, Burdett Music course. Am. Bk Co. Zuchtmann, Frederick. New American music readers. Macmillan ROTE SONG BOOKS Barbour, F. N. Child-land in song and rhythm. A. P. Schmidt Beach, John. Songs from a Child’s Garden of Verses. C. C. Birchard & Co. Boston Bentley, A. E. The song primer. A. S. Barnes Dann, Hollis. First year music. Am. Bk Co. Gaynor, J. S. Songs of the child world. Books 1-2. John Church Co. Grant-Schaefer, G. A. Thirty-six songs for children. C. C. Birchard & Co. Knowlton, F. iS. Nature songs for children. Milton Bradley Co. McGowan, Beatrice. Child songs. Clayton Summy Co. Chicago McLaughlin, J. M. & Gilchrist, W. W. New educational music course. Teachers’ edition for elementary grades. Ginn Miessner, W. O. & Fox, F. C. Art song cycles. Books 1-2. Silver, Burdett Needham, A. A. A child in song. C. C. Birchard & Co. Neidlinger, W. H. Small songs for small singers. G. Schirmer Poulsson, Emilie & Smith, Eleanor. Songs of a little child’s day. Milton Bradley Co. Pratt, S. G. Character and action songs. Ditson Pratt, W. S. St Nicholas songs. Century Riley, A. G. & Gaynor, J. S. Lilts and lyrics for the school room. Clayton Summy Walker, G. A. & Jenks, H. S. Songs and games for little ones. Ditson SEVENTH AND EIGHTH GRADES Armitage, M. T. comp. Junior laurel songs. C. C. Birchard & Co. Bryant, Laura. Christmas carols for primary and grammar grades. Am. Bk Co. Dann, Hollis. Assembly songs, v. 1. H. W. Gray Co. Commencement trios. Am. Bk Co. Giddings & Newton. Junior Song and Chorus Book. Ginn Rix, F. R. Junior assembly song book. A. S. Barnes Shirley, J. B. Part songs for girls’ voices. Am. Bk Co. Tomlins, W. L. Laurel music reader. C. C. Birchard & Co. ELEMENTARY SYLLABUS MUSIC 19 SUPPLEMENTARY SIGHT READING MATERIAL Abbott, A. J. Individual singing exercises. Am. Bk Co. Aiken, W. H. Melody studies for primary grades. Am. Bk Co. Bowen, G. O. Graded melodies for individual sight-singing. A. S. Barnes Newton, E. W. Introductory sight-singing melodies. Ginn & Co. TEXTS FOR SUPPLEMENTARY READING May be read to the class by the teacher or placed in the school library and made available for individual pupils in grades five to eight inclusive. Gather, K. D. Pan and his pipes. Victor Talking Machine Co. Cox, A. C. & Chapin, A. A. Letters from great musicians to young people. G. Schirmer Scoby, K. L. & Horne, O. B. Stories of great musicians. Am. Bk Co. Tapper, Thomas. Pictures from the lives of great composers for children. Theodore Presser