UNIVERSITY OF ILLINOIS 
 
 BULLETIN 
 
 Vol. XXXVII April 30, 1940 No. 36 
 
 COLLEGE OF EDUCATION PUBLICATIONS 
 
 UNIVERSITY HIGH SCHOOL SERIES 
 
 No. 1 
 
 Teaching Music 
 Appreciation 
 
 Use of the Radio 
 and Movies 
 
 By Velma Irene Kitchell 
 
 PUBLISHED BY THE UNIVERSITY OF ILLINOIS 
 URBANA 
 
 
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Teaching Music 
 Appreciation 
 
 Use of the Radio 
 and Movies 
 
 BY 
 
 Velma Irene Kitchell 
 
 THE LJBRARY OF THE 
 
 JAN 7 1944 
 
 UNIVERSITY Of ILLINOIS 
 
 PUBLISHED BY THE UNIVERSITY OF ILLINOIS 
 URBANA 
 
INTRODUCTION 
 
 The adoption of practices which have proved successful in experi- 
 mental school situations is one fundamental way by which education 
 may be improved. Such changes must be described and disseminated 
 widely if practice generally is affected. It is true that programs and 
 plans suited to any one school situation cannot function in their en- 
 tirety in all situations ; however, if such programs and plans are 
 the result of study and experimentation, they should suggest new 
 possibilities. 
 
 The purpose of this series of bulletins is to describe modifications 
 of ordinary school practice. In each instance they have been tried out 
 and adopted in the University High School, the laboratory school of 
 the College of Education, University of Illinois, and seem worthy of 
 trial in the public schools. 
 
 Thomas Eliot Benner, Dean 
 College of Education 
 University of Illinois 
 

 CONTENTS 
 
 A New Approach ro Music Apprei iation 5 
 
 Procedures of the Ni:\\ Approach 7 
 
 Weekly Schedule of Radio Programs 7 
 
 Beginning the Year's Work 10 
 
 Preparing for Two Representative Broadcasts 13 
 
 Classwork Following the Broadcasts 14 
 
 Utilization of the Movies 15 
 
 Review and Organization of the Work 16 
 
 Materials of the Approach 21 
 
 Radio Programs and Movies 21 
 
 Recordings of Compositions 21 
 
 Reference Books 22 
 
 Evaluating Music Appreciation 23 
 
 Bibliography of Books on Composers, Artists, Instru- 
 ments, Operas, and Compositions 25 
 
ACKNOWLEDGMENT 
 
 The author wishes to make grateful acknowledgment 
 for criticisms, suggestions, and corrections to the follow- 
 ing members of the faculty of the University of Illinois: 
 Professor Liesette J. McHarry, Head of the Department 
 of English, University High School ; Professor C. W. 
 Sanford, Principal of the University High School ; Pro- 
 fessor B. O. Smith, College of Education; Professor 
 F. B. Stiven, Director of the School of Music. 
 
A New Approach to Music Appreciation 
 
 IHi' conventional approach to the teaching of music appreciation 
 
 has been, in most cases, a presentation of carefully organized units of 
 subject matter. Some of these units have been: folk music; develop- 
 ment of opera and oratorio; musical forms such as rondo, march. 
 fugue, and sonata: instruments; composers- beginning with Bach and 
 Handel, proceeding chronologically with Haydn, Mozart, Beethoven, 
 Schubert, Mendelssohn. Schumann. Chopin, Liszt. Wagner, and 
 Brahms, and finally ending with the modern composers. The modern 
 composers have further been organized according to nationalities: 
 Russian — -Ippolitow-Ivanow, ( rlazounow, Rachmaninoff, Stravinsky, 
 Szostakovicz ; French — Dukas, Ibert, Honegger, Saint-Saens, Ravel, 
 Debussy; Scandinavian — Sibelius, Palmgren, Jarnefelt, Halvorsen, 
 Sinding. 
 
 The conventional organization, with its emphasis upon order, 
 sequence, and ground-to-be-covered, did not readily permit the use 
 of the everyday musical experiences of students. If any correlation 
 occurred between the music which the students studied in class and 
 that which they heard on radio programs or at the movies, it was inci- 
 dental. For the most part, experiences in the classroom were distinct 
 and apart from anything which the students experienced outside the 
 classroom. 
 
 There is now an ever-increasing number of excellent musical radio 
 programs and musical movies. Music which used to be inaccessible to 
 most boys and girls, save through recordings, is now coming directly 
 to homes and communities from the great artists of the day. There 
 is, therefore, no need for a continuation of the traditional way of 
 organizing and of conducting courses in music appreciation. The 
 study of music can easily become a very vital, meaningful, and enjoy- 
 able experience to students, if the teacher recognizes and utilizes the 
 experiences in music now made possible by the radio and the screen. 
 Activities in the classroom will not be isolated from life. Classroom 
 work will not be abstract, unreal, and theoretical. Instead, it will take 
 on the aspect of living, real, everyday experiences. It is the purpose of 
 this bulletin to set forth an organization of subject matter and a 
 method of procedure more adequate than the conventional approach 
 and to explain how this new method has been put into practice in 
 actual classroom situations. 
 
 The approach described herein rests upon the conviction that in- 
 struction in music appreciation should be based, in part, upon the 
 out-of-school experiences of students. This conviction is in keeping 
 
Teaching Music Appreciation 
 
 with the implications of educational psychology and of philosophy as 
 held by Dewey, who, in one of his earlier books, says: "From the 
 standpoint of the child, the great waste in the school comes from his 
 inability to utilize the experiences he gets outside the school in any 
 complete and free way within the school itself ; while, on the other 
 hand, he is unable to apply in daily life what he is learning at school. 
 That is the isolation of the school — its isolation from life. When the 
 child gets into the schoolroom he has to put out of his mind a large 
 part of the ideas, interests, and activities that predominate in his home 
 and neighborhood. So the school, being unable to utilize this everyday 
 experience, sets painfully to work, on another task, and by a variety 
 of means, to arouse in the child an interest in school studies." 1 
 
 The question is: How can music appreciation be taught so as to 
 make the most of the experiences available to children in their every- 
 day life? 
 
 A large majority of students have access to radios and listen to 
 various radio programs outside the school each day, and it is quite 
 evident that high school students attend the movies rather consistently. 
 These facts support the belief that students are, as a rule, interested 
 in radio programs and in the movies. The teacher of music apprecia- 
 tion should utilize these expressed interests by basing a part of the 
 work in appreciation on these everyday experiences. 
 
 If this approach is followed, the student's classroom experiences 
 will be greatly enriched by his experiences outside the classroom ; and, 
 similarly, his experiences outside the classroom will be greatly en- 
 riched by his experiences in the classroom. This is in keeping with 
 the belief that effective teaching should not only stimulate the child's 
 interest, but at the same time it should enable him to carry over his 
 school experiences into the life of the community. 
 
 \John Dewey, School and Society, University of Chicago Press, Chicago, 
 1899, p. 67. Reprinted by permission of the publishers. 
 
Procedures of the New Approach 
 
 Weekly Schedule of Radio Programs 
 The teaches, contemplating this approach for the first time, may be 
 
 at a loss to know what to teach, how to plan the work, and where to 
 
 materials for instruction. It is the purpose of the remaining p; 
 oi this bulletin to describe how the problems raised by these questions 
 have actually been dealt with in a specific class. Before discussing these 
 questions, we shall present a weekly schedule of regular radio pro- 
 grams which were used during the school year 1 ( ^<S-1939. This will 
 indicate the wealth of good musical programs available by radio, and 
 should allay any suspicions of lack of material. 
 
 SUNDAY 
 
 9:30 a.m. WMAQ — Music and American Youth 
 
 This half-hour program was presented each Sunday by a different city 
 school system. The programs were varied; they were presented by vocal and 
 instrumental groups from the elementary, junior, and senior high schools. These 
 groups often performed compositions of the master composers — Bach, Tschai- 
 kowsky. Weber, Beethoven, Liszt, etc. 
 
 11:00 a.m. KWK, \Y( >W< )— Radio City Music Hall 
 
 This program was an hour in length. For the first part of the season 
 symphonic compositions and vocal solo- were presented. During the latter part 
 of the season a tabloid opera series was presented. This series included: 
 / Pagliacci, Tales of Huffman, Don Giovanni, and Die Walkiire. 
 
 12:30p.m. WMAQ, WGN, KMOX— Salute to the New York- 
 World's Fair 
 
 From January 1 to April 23, a half-hour program presenting vocal and in- 
 strumental organizations from various countries was heard. The countries in- 
 cluded Belgium, Denmark, England, Italy, Rumania, and others. On several 
 occasions solo artists from the particular countries were heard. 
 
 1:00 p.m. WLW, WENR— The Magic Key 
 
 This program was an hour in length. It presented some of our very besl 
 artists and orchestras. The following were heard during the season: Marian 
 Anderson, Marjorie Lawrence, Ezio Pinza, Maria Caniglia, Br una Castagna, 
 Lauritz Melchior, the Philadelphia Symphony, and Frank Black's Symphony. 
 It was during this hour that Paderewski played his first American broadcast. 
 
 2:00 p.m. WLW, WENR Frank Simon's Band 
 
 This was a half-hour program Oil which was heard excellent band literature. 
 Frank Simon also presented a number of outstanding high school instrumental 
 soloists. 
 
8 Teaching Music Appreciation 
 
 2:00 p.m. WBBM — The New York Philharmonic-Symphony Society 
 
 This two-hour program featured the very best of symphonic literature and 
 of vocal and instrumental artists. Compositions by both master and contempo- 
 rary composers were heard. Two young violinists — Virovai and Knitzer — were 
 presented this season. During the intermission period of this program, Deems 
 Taylor, prominent New York City music critic and composer, discussed the 
 compositions, composers, or artists in a very interesting manner. He sometimes 
 talked about miscellaneous subjects — for example, he discussed on two suc- 
 ceeding Sundays the necessary qualifications and training of a music critic. On 
 one occasion Mr. Taylor discussed the very interesting and pertinent question, 
 "Why aren't there more women performers in symphony orchestras?" 
 
 4:00 p.m. WENR — Metropolitan Opera Auditions 
 
 This was a half-hour program conducted by Edward Johnson, general 
 manager of the Metropolitan Opera Company, and Wilfred Pelletier, one of the 
 Metropolitan conductors. The auditions were for the purpose of discovering 
 new talent for the Metropolitan Opera Company. Two or three aspiring young 
 artists were auditioned each Sunday. At the close of the season the winners were 
 announced. The prizes were one thousand dollars and a contract with the 
 Metropolitan Opera Company for each winner. 
 
 6:00 p.m. WOR— Bach Cantata 
 
 This series, which presented Bach's cantatas, was an attempt to popularize 
 some of the composer's works which are seldom heard. 
 
 8:00 p.m. WBBM— Ford Sunday Evening Hour 
 
 This one-hour program was presented by the Ford Symphony, various con- 
 ductors, and many outstanding artists. Some of the conductors were: Reiner, 
 Ghione, Iturbi, Ormandy, and Pelletier. 
 
 The artists who were presented included: Pinza, Heifetz, Swarthout, 
 Tibbett, Sayao, Tauber, Virovai, John Charles Thomas, Pons, Bjoerling, 
 Casadesus, Jepson, Crooks, Enesco, Gigli, Flagstad, Rethberg, Reining, Hess, 
 and Bonelli. 
 
 In addition to these programs, the students, of course, listened to 
 the Chase and Sanborn Hour (7:00 p.m.), on which Nelson Eddy and 
 Donald Dickson presented, for the most part, very fine examples of 
 vocal literature. Another rather popular Sunday evening program was 
 the Kellogg Circle (9:00 p.m.), which featured some of our best 
 musical artists — Lawrence Tibbett, Marian Anderson, Jose Iturbi. 
 
 MONDAY 
 
 7:30p.m. WMAQ, WLW— The Firestone Program 
 
 This half-hour program was presented by Alfred Wallenstein's seventy- 
 piece orchestra and a soloist, either Margaret Speaks or Richard Crooks. 
 
 9:30 p.m. WGN— Henry Weber's Pageant of Melody 
 
 This forty-five minute program was presented by an orchestra and soloists, 
 usually Chicago soloists. 
 
edures of the New Approach 
 
 THURSDAY 
 
 30p.m. WI.W Eastman School of Music Program; or Rochester 
 Philharmonic 
 
 Most of the students listened to the Good News of L939 program 
 
 10 p.m.). Meliza Korjus, heard 1>\ many of the students In the 
 movie "The Great Waltz." usually sang several solos during the hour. 
 
 The Kraft Music Mall (9:00 p.m.) often presented an outstanding 
 musical artist who performed one or two numbers. Some of the 
 
 soloists ]. resented this season were Savao. Piatigorsky, Iturhi. and Pons. 
 
 SATURDAY 
 
 10:0(1 a.m. WBBM The New York Young People's Concert; or 
 Cincinnati Conservatory of Music Concert 
 
 The W w York Young People's Concert, which was broadcast five times 
 during the last season from 10:00 to 11:30, was presented by the New York 
 
 Philharmonic Orchestra under the direction of Ernest Schelling. The concert 
 was in the form of a lesson in music appreciation. Schelling discussed com- 
 posers, compositions, and instruments in a very interesting and entertaining 
 manner before a large group of young people in New York City. 
 
 10:30 a.m. WGN, WLW— Army Rand 
 
 12:40 p.m. WLW, WMAQ— Metropolitan Opera 
 
 This broadcast was one of the highlights of the week. Each Saturday during 
 the Metropolitan Opera season, a complete opera was broadcast from the 
 Metropolitan stage, by the Metropolitan artists. The operas were from three 
 to four hours in length. 
 
 Milton Cross was the commentator during this season. During intermis- 
 sions he explained to the radio audience the settings for each scene of the opera, 
 the costumes worn by the major characters, and the plot of the opera by acts. 
 He often discussed the artists, particularly if they were new ones. Occasionally 
 he would comment on the composer of the opera. 
 
 9:30 p.m. WMAQ— NBC Symphony 
 
 This hour-and-a-half program was presented by an orchestra composed of 
 the be-t performers in the country. It was organized a little over a year ago, 
 and most of its broadcasts during the two seasons have been conducted by 
 Toscanini, the world famous maestro. ChotzinofT has served in the capacity of 
 intermission commentator, and his remarks have been thoroughly enlightening 
 and enjoyable. 
 
 The last broadcast of the 1938-1939 season digressed from the usual routine 
 and presented an opera which had been written solely for radio. The composer, 
 Menotti, prefaced the writing of the opera by making a study of the possibilities 
 and techniques of radio, and of the reactions of radio audiences. He arrived 
 at a very definite conclusion: the opera must be humorous, exciting, and easily 
 understandable. The opera was quite unique in that the text was written in 
 "everyday" English and referred to ham and eggs and talk of baseball. Many 
 excellent sound effects were employed. 
 
10 Teaching Music Appreciation 
 
 In addition to the programs listed, it was suggested that the stu- 
 dents listen to the "Suburban Hour" daily, except Sunday, from 7:00 
 to 8:00 a.m. on station WMAQ. This was a program of recordings 
 of very good music performed by excellent artists, symphonies, and 
 choral organizations. 
 
 There was also the "Symphonic Hour" daily, except Sunday, from 
 12:00 m. to 1:00 p.m., on station WAAF, presenting some of the very 
 best of symphonic literature. 
 
 Station WDWS (Champaign) broadcast an hour of excellent 
 recordings nightly, except Saturday, from 10:00 to 11:00. This pro- 
 gram was mentioned, but not recommended very strongly because of 
 the lateness of the hour. 
 
 There were, of course, many excellent radio programs during the 
 school day, but as a rule students could not listen to them. Since these 
 programs were not discussed in class, they have not been included in 
 this paper. 
 
 Beginning the Year's Work 
 
 The radio programs listed and explained in the foregoing section were 
 heard during the greater part of the school year. However, there was 
 about a month at the beginning of the year in which not all of these 
 programs were on the air, and this month was spent in getting ac- 
 quainted with students, learning of their interests, needs, and poten- 
 tialities, and in acquainting them with musical instruments, radio 
 stations, and the like. 
 
 Becoming Acquainted with the Members of the Class. If the 
 class had been a small one, an informal discussion would have supplied 
 the desired information concerning the students. Since the class was 
 a large one, it was better to supplement the informal discussion with a 
 questionnaire to which each student was asked to respond. The fol- 
 lowing points were included: 
 
 Name. 
 
 Classification in school — freshman, sophomore, junior, or senior. 
 
 Home room. 
 
 Age. 
 
 What instrument do you play? 
 
 How long have you played it? 
 
 Is there a piano in your home? 
 
 Is there a radio in your home? 
 
 How much time do you spend listening to radio programs each day? 
 
 Name four of your favorite radio musical programs. 
 
 Name five vocal or instrumental artists whom you have heard. 
 
 What music courses have you taken in high school? 
 
 In what phase of music are you particularly interested? Composition, con- 
 ducting, band work, chorus work, piano, etc.? 
 
 Name four movies you have seen in which musical artists played the prin- 
 cipal roles. 
 
Procedures of the X civ .Approach 11 
 
 After this information was obtained, it was possible to adapt the 
 content of the course to the needs and interests of the students. 
 
 Awakening an Interest in Music. Since the questionnaires and 
 oral discussions revealed a lark of interest in music on the part of 
 some of the students, a portion of the first month of the school year 
 was spent in attempting to gain such interest by presenting carefully 
 selected recordings. As almosl everyone likes descriptive music and 
 music in which there is a very definite and pronounced rhythm, the 
 following recordings were used: 
 
 Description 
 
 ; nival of the Animals — Saint-Saens. 
 Pictures at an Exhibition — Moussorgsky-Ravel. 
 The Moldau — Smetana. 
 
 The Sorcerer's Apprentice — Dukas. 
 
 Till Eulenspiegels Merry Pranks — Richard Straus-. 
 
 Danse Macabre — Saint-Saens. 
 
 Overture to Midsummer-Night's Dream — Mendelssohn. 
 
 Overture to Oberon — Weber. 
 
 Overture to William Tell — Rossini. 
 
 Overture of 1812 — Tschaikowsky. 
 
 Adventures in a Perambulator — Carpenter. 
 
 Pacific 231 — Honegger. 
 
 Rhythm 
 
 Rhapsody in Blue — Gershwin. 
 Waltzes — Johann Strauss. 
 Marches — Sousa. 
 
 Becoming Acquainted with Procedures of and Facilities for 
 Broadcasting Programs. As radio programs were to be used to a 
 great extent, it was desirable, though not essential, for the class to 
 visit a radio station early in the school year to see and hear programs 
 in the process of being broadcast. Since some of the students were 
 interested in the technical details of broadcasting, they were encour- 
 aged to make a trip to the transmitter. After the students had become 
 thoroughly acquainted with a small station, it was very easy for them 
 to understand the descriptions and explanations of the large city sta- 
 tions and of Radio City, which were illustrated with pictures and 
 diagrams. 
 
 Becoming Acquainted with Orchestral Instruments. Much of 
 the music which the students were to hear on radio programs during 
 the school year was performed by orchestras and various instrumental 
 ensembles and soloists. Therefore, it was very desirable for the stu- 
 dents to become familiar with the instruments of the orchestra early in 
 the school year. They also considered various seating arrangements 
 of the orchestra and the importance and duties of the concertmeister. 
 
 Perhaps the most interesting and effective way to teach instruments 
 
 - 
 
 UNIVERSITY Of IliMKi 
 
12 Teaching Music Appreciation 
 
 is through demonstrations. Each student in the class who played an 
 instrument demonstrated it before the entire class. The demonstration 
 was practical, rather than technical. The following points were brought 
 out: playing position, production of tones, construction, approximate 
 price, tone quality, and compass. 
 
 Since some instruments used in orchestras were not played by any 
 members of the class, it was desirable to have members of the high 
 school orchestra or band, or members of the town orchestra or band, 
 come into the classroom and present demonstrations. After the dem- 
 onstrations had been given, it was sometimes interesting and worth- 
 while for those students in the class who did not play the instrument 
 being demonstrated to be given an opportunity of attempting to hold it 
 correctly and to produce tones on it. This helped to develop an interest 
 in, and a sincere admiration for, those who do play the instruments. 
 
 It was impossible to have demonstrations of every orchestral instru- 
 ment, so it was necessary to use large instrument charts and recordings 
 of individual instruments. Sets of instrument charts may be obtained 
 from the C. C. Conn Instrument Company, Elkhart, Indiana, at $1.00; 
 and from the RCA Victor Division of RCA Manufacturing Co., Inc., 
 Camden, New Jersey, at $4.00. Records illustrating the tone quality 
 of individual instruments may be obtained from the RCA Victor 
 Division of RCA Manufacturing Co., Inc. (Record numbers 20522 
 and 20523). 
 
 There were also demonstrations of the piano, the organ, and the 
 Hammond electric organ. Students found the inside of a piano to be 
 very intriguing, and they enjoyed making a trip to one of the city or 
 town churches to see and hear an organ demonstration. One of the 
 church organists was quite happy to show and explain to the students 
 the structure and mechanical effects of the organ — the pipes, pedals, 
 pistons, couplers, and registrations. In connection with these demon- 
 strations, the approximate prices of the instruments were indicated, 
 the care of each instrument was explained, and the outstanding artists 
 of each were listed. 
 
 Becoming Familiar with Opera. Just previous to the opening of 
 the winter opera season, which was about the last of November, the 
 members of the class were led in a discussion of "Opera at the present 
 time." The following points were included: 
 
 What is an opera? (The discussion included an explanation of solos, 
 choruses, concerted music, overture, intermezzo, ballet, drama, elaborate cos- 
 tumes, settings, lighting effects, libretto, etc.) 
 
 Major opera companies in the United States and their general managers 
 and conductors. 
 
 Pictures of interiors and exteriors of opera houses and of several sets used 
 in various productions. 
 
 Length of season. 
 
 Price of a ticket. (This led into a consideration of the cost of producing 
 an opera.) 
 
P> i of the New Approach 13 
 
 Description o! tin- staging facilities al the Chi ra House 
 
 Metropolitan Chorus number, nationalities, qualifications necessary fur 
 becoming a member, requirements and activities during the season. 
 Metropolitan Orchesti nal selection and reauditioning, size. 
 
 Preparing for Two Representative Broadcasts 
 
 When the period of orientation was drawing to a close and appropriate 
 broadcasts were increasing in number, it was necessary to turn to more 
 direct procedures of instruction. The problem was: How could class 
 time he used most profitably in preparing students for broadcasts and 
 
 movies? In answer to this question, we shall present two procedures: 
 the first, for an opera; and the second, for a symphonic program. The 
 following is a survey of what was done in class a few daws previous 
 to the Saturday afternoon broadcast of Lohengrin from the Metro- 
 politan stage. 
 
 Consideration of the composer of the opera — very brief discussion of 
 composer and the listing of several of his operas previously studied in class. 
 
 Consideration of the principal characters in Lohengrin — characterization, to 
 make each seem just as much like a living person as possible. 
 
 Listing and discussing the Metropolitan artists who are to sing the major 
 roles in Lohengrin, showing pictures of these artists in Lohengrin costumes, en- 
 abling the students to form an accurate mental picture when they hear the 
 broadcast. 
 
 Sketching the story of the opera, showing pictures of stage settings, etc. 
 
 Playing recordings of the principal compositions from the opera — Bridal 
 Chorus, Lohengrin's Narrative, The Szcan Song, Elsa's Dream, etc. 
 
 On the day following this presentation, a review of the opera was 
 conducted. During the review the recordings were replayed, either 
 completely or in part, so the students were quite familiar with some of 
 the music. When this procedure was followed, those students who 
 listened to the opera were able to follow it through rather easily, and to 
 enjoy and understand it much more than if they had not been pre- 
 pared for it. 
 
 To explain what is done in class in preparation for the broadcast 
 of a symphonic program featuring a soloist, one of the Ford Sunday 
 Evening Concerts, in which the violinist Heifetz was featured, will be 
 used as an example. 
 
 Discussion of Heifetz, who is to be the guest soloist, including: showing a 
 picture of Heifetz; age at which he took his first violin lesson; age at which 
 he first performed professionally; names and prices of his two violins; George 
 Bernard Shaw's request that Heifetz play one incorrect note each day, >o the 
 gods would not become jealous of anything so perfect as his playing and 
 destroy it. 
 
 Demonstration of the violin: parts, names, and locations; correct playing 
 position; effects obtainable on violin: con sordino, pizzicato, double stopping, 
 harmonics, vibrato, etc. 
 
 Playing recordings of one or more of the violin compositions which Heifetz 
 will perform on the program, recognizing and commenting on the various effects 
 employed. 
 
14 
 
 Teaching Music Appreciation 
 
 Playing recordings of several of the orchestral compositions to be played 
 on the program. Names of composers included. 
 
 Classwork Following the Broadcasts 
 
 On the Monday following the broadcast of an opera, the students were 
 given an opportunity to discuss the broadcast and to give their honest 
 reactions and opinions. Among other things, the discussion ordinarily 
 included the following points: 
 
 Were the voices of the artists pleasing? 
 
 Did the artists interpret their parts well? 
 
 Did the orchestra furnish an effective accompaniment? 
 
 What details of the plot did the commentator mention? 
 
 How were the principals costumed? 
 
 What is your favorite composition from the opera? 
 
 Likewise, on the day following the broadcast of a symphonic pro- 
 gram featuring a soloist, the students discussed their reactions to the 
 symphony and to the soloist. 
 
 The class period on Monday consisted almost entirely of discus- 
 sions concerning the week-end programs. To facilitate the procedure, 
 the following table was used occasionally: 
 
 Table I. — Record of Programs Heard by the Students 
 
 Program 
 
 Cincinnati Conservatory of Music 
 
 Metropolitan Opera 
 
 NBC Symphony 
 
 Music and American Youth 
 
 Radio City Music Hall 
 
 Salute to the New York World's 
 
 Fair 
 
 Magic Key 
 
 Frank Simon's Band 
 
 Metropolitan Opera Auditions. . . 
 
 Bach Cantatas 
 
 Ford Sunday Evening Hour. . . . 
 Miscellaneous (Names of 
 
 programs given orally) 
 
 
 
 >> 
 
 
 
 
 
 2 
 
 c 
 
 CD 
 
 X 
 
 o 
 u 
 o 
 Q 
 
 c 
 XI 
 o 
 
 £ 
 
 XI 
 
 o 
 PQ 
 
 CO 
 
 2 
 
 X 
 
 
 
 
 
 
 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 
 
 X 
 
 
 
 
 X 
 
 
 
 
 
 
 
 
 X 
 
 X 
 
 X 
 
 
 X 
 
 
 X 
 
 X 
 
 
 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 X 
 
 
 X 
 
 X 
 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 X 
 
 
 X 
 
 X 
 
 
 X 
 
 
 The students were asked to go to the board, several at a time, to 
 indicate the programs which they had heard during the week-end. The 
 result enabled the class to obtain at a glance a complete picture of what 
 each student had heard. In addition, it was a time-saving device be- 
 cause no time was wasted by calling on students who had not heard 
 the program being discussed. 
 
Procedures of the New Approach 15 
 
 The students were urged to listen carefully to the remarks of the 
 commentators- -Deems Taylor, Milton Cross, and Chotzinoff whose 
 remarks often gave rise to interesting class discussions. 
 
 The fact that all the students did not listen to all the programs 
 which had been studied and recommended was t<» be expected, since 
 
 tew oi the students had their own individual radios. Consequently, 
 the likes and dislikes of other members of the family had to he con 
 
 sidered; and there were members of some families who insisted on 
 hearing popular dance programs instead of symphonic broadcasts. 
 Furthermore, the students could not he expected to Spend t<.., many 
 hours during the week-end in listening to radio programs. However, a 
 little direction aided the students in choosing their programs wisely 
 when they did listen to the radio. Jt was hoped and expected thai 
 through the students' interest in music, members of their families 
 would develop a deeper appreciation for good music. 
 
 Utilization of the Movies 
 
 As concrete examples of the type of movies which could be studied in 
 music appreciation class, let us cite "Maytime," in which were heard 
 Xelson Eddy, Jeannette MacDonald, the Don Cossack Russian Choir, 
 and many of the melodies from Tschaikowsky's Fifth Symphony. An 
 additional example was "One Hundred Men and a Girl," in which 
 Stokowski and the Philadelphia Symphony played the Prelude to Act 
 III from Lohengrin, by Wagner, Liszt's Hungarian Rhapsody No. 2, 
 and Movement IV oi Tschaikowsky's Fifth Symphony. A more recent 
 movie was "The Moonlight Sonata," in which was heard and seen the 
 greatest of all living pianists, Paderewski. The study of this movie 
 was most interesting and meaningful because in it were played several 
 of the compositions which Paderewski used on his concert tour. Soon 
 after the showing of the movie in Champaign, Paderewski played his 
 first American broadcast (February 26, 1939). Students compared his 
 performance on the screen with that in the broadcast. The composi- 
 tions which he played included Hungarian Rhapsody No. 2, by Liszt, 
 Beethoven's Moonlight Sonata, Chopin's Polonaise in A, and his own 
 Minuet in G. These compositions were first studied in class prior to 
 the showing of the movie, then the students heard and saw them 
 played in the movie, and finally they heard them played on the broad- 
 cast. By this time they were quite capable of making some very 
 significant observations and comments. During this period the students 
 and teacher reported on articles they read concerning Paderewski. As 
 a result, they had a very vivid picture of his mode of life on tour, his 
 travelling companions, his piano, his unique stool, which is almost as 
 necessary for his concerts as the piano itself. The students read of his 
 illness, of his reactions to ''swing." to the movies, and to modern 
 
16 Teaching Music Appreciation 
 
 customs. They heard about his concert in Chicago and the great 
 tribute paid to him by the audience. 
 
 In general, therefore, the procedure used in preparing for showings 
 of movies did not differ essentially from that used in preparing for 
 radio musical programs. 
 
 Review and Organization of the Work 
 
 One objection that might be raised against a music appreciation course 
 based on the radio and cinema is that it would certainly be lacking in 
 chronological organization, even though it may be very interesting and 
 effective otherwise. It is to be admitted that if the movie and radio 
 approach is used, it is quite likely that a symphonic composition by an 
 early Russian composer will be taught one day and be followed on the 
 next day by the presentation of an opera by a contemporary American 
 composer. If it be kept in mind, however, that the purpose of the 
 course is to create a love of music, and not merely to teach about 
 music, it will be seen that chronological sequence is of secondary 
 importance. 
 
 Some degree of systematic organization was provided, however, 
 during the last month of school. There were not so many good music 
 programs on the air during the month of May, so it would have been 
 difficult to base the classwork entirely on the radio during the last 
 month of the school year. This period was well spent in a review and 
 an organization of the compositions, composers, and artists discussed 
 during the year. One phase of the review, as developed with the class, 
 consisted of compositions by Russian composers, which were organ- 
 ized as follows: 
 
 Russian Composers 
 Glinka (1803-1857) Tschaikowsky (continued) 
 
 Russian and Ludmilla Overture Arabian Dance 
 
 Borodin (1834-1857) Russian Dance 
 
 Polovetski Dances from Prince Igor Waltz °f the Fl o™ers 
 
 Symphony No. V 
 Moussorgsky (1835-1881) Movement II 
 
 Pictures at an Exhibition 
 
 Promenade 
 
 The Troubadour 
 
 Ballet of the Unhatched Chickens 
 
 The Catacombs Romeo and Juhet 
 
 The Great Gate at Kiev Overture Fantasia 
 
 Tschaikowsky (1840-1893) Rimski-Korsakoff (1844-1908) 
 
 Overture of 1812 . . v / 
 
 Nutcracker Suite Capncao Espagnol (Spanish 
 
 Overture Miniature Caprice) 
 
 March Scheherazade Suite 
 
 Dance of the Sugar Plum Fairy Th ^ Young Prince and Princess 
 
 Chinese Dance Song of India from Sadko 
 
 Dance of the Toy Pipes Flight of the Bumble Bee 
 
 Symphony No. VI (Pathetique) 
 
 Movement III 
 Marche Slave 
 
Prih't'tJurrs of the A c.v . / pprouch 17 
 
 [ppolitow-Ivanou (1859-1934) Stravinilq (1882- ) 
 
 Caucasian Sketches (Suite) The Fire Bird Suite 
 
 In tlu- Village Dance of the Princesses 
 
 March of the Caucasian Chief Dance "I the Kastchei 
 
 Glazounow (1865-1936) Szostakovici (1906- ) 
 
 Danse Orientate Russian Dance 
 Rachmaninoff ( 1873- ) 
 Prelude in C# Minor 
 
 Some of the records were replayed during the review. This made 
 
 the students more familiar with the nmsir, and it afforded an oppor- 
 tunity for the review and recognition of Instruments, such as, the 
 celeste and bass clarinet in Dance of the Sugar Plum / : airy; the piccolo 
 in Chinese Point-; the harp in Wall:: of the Flowers; the French horn 
 in the second movement of Tschaikowsky's Fifth Symphony ; the 
 English horn and viola in /// the Village; the violin, harp, flute, and 
 clarinet cadenzas in Capriccio Espagnol. 
 
 Another phase of the review and organization consisted of the 
 Verdi operas which were heard at various times during the year. 
 
 Verdi, Italian Composer (1813-1901) 
 
 Rigoletto A'ida 
 
 Principal characters: Principal characters: 
 
 Rigoletto Aula 
 
 Gilda Amonasro 
 
 Duke Amneris 
 
 Sparafucile Rhadames 
 
 Maddalena King of Egypt 
 
 Compositions: Compositions: 
 
 Quartet Celeste A'ida 
 
 Woman Is Fickle Triumphal March 
 
 11 Trovatore Glor y t0 Ec JyP t 
 
 Principal characters: Farewell, O Earth 
 
 Manrico Otcllo 
 
 Count di Luna Principal characters: 
 
 Azucena Otello 
 
 Leonora Desdemona 
 
 Compositions: Emilia 
 
 Anvil Chorus Cassio 
 
 Miserere Iago 
 
 Home to our Mountains Compositions: 
 
 Credo 
 Ave Maria 
 
 These four operas by Verdi were broadcast by the Metropolitan 
 Opera Company during this last season. During the review the prin- 
 cipal characters were not only named, but were also identified. Some 
 of the compositions which were played when the operas were studied 
 were replayed. Explanations of the situations in the opera at the time 
 certain compositions are heard were reviewed. 
 
18 
 
 Teaching Music Appreciation 
 
 Another unit in the review included a classification of vocal and 
 instrumental artists, conductors, and commentators heard on radio 
 programs and in movies during the school year. In some cases notes 
 which helped the students identify and remember the artists are 
 shown in parenthesis. 
 
 Tenor 
 Tauber (German) 
 Crooks (American) 
 Carter (American) 
 Bentonelli (American) 
 Martinelli (Italian) 
 Martini (Italian) 
 Gigli (Italian) 
 Melchior (Danish) 
 Bjoerling (Swedish) 
 
 Men Vocalists 
 
 Baritone 
 J. C. Thomas (American) 
 Eddy (American) 
 Tibbett (American) 
 Bonelli (Italian- 
 American) 
 Robeson (Negro) 
 
 Women Vocalists 
 
 Bass 
 Kipnis (Russian- 
 American) 
 Pinza (Italian) 
 
 Soprano 
 
 Mezzo 
 
 Contralto 
 
 Pons (French) 
 
 Swarthout (American) 
 
 Anderson (Negro) 
 
 Flagstad (Norwegian) 
 
 Castagna 
 
 Castagna 
 
 Sayao (Brazilian) 
 
 Thorborg (Swedish) 
 
 Thorborg (Swedish) 
 
 Korjus (Viennese) 
 
 
 
 Milanov (Jugo-Slav) 
 
 
 
 Lawrence (Australian) 
 
 
 
 Speaks (American) 
 
 
 
 Caniglia (Italian) 
 
 Violinists 
 
 
 Menuhin 
 
 Milstein 
 
 Zimbalist 
 
 Virovai 
 
 Enesco 
 
 Kreisler 
 
 Knitzer 
 
 Elman 
 
 Piastro 
 
 Heifetz 
 
 Spalding 
 
 
 Casals 
 
 Cassado (Spanish) 
 
 Cellists 
 
 Feuermann (Austrian) 
 Piatigorsky (Russian) 
 
 Schuster (Russian) 
 Kindler 
 
 Pianists 
 
 Iturbi (Spanish; also a conductor) 
 
 Gieseking 
 
 Paderewski (Polish; 78 years old) 
 
 Myra Hess 
 
 Alec Templeton (Blind) 
 
 Casadesus 
 
 Schnabel 
 
 Winifred Christie (Plays Bechstein- 
 Moor, double keyboard piano) 
 
 Bartlett and Robertson (Duo pianists) 
 
 Luboshutz and Nemenoff (Duo 
 pianists) 
 
 Hofmann 
 
 Slenczynski (Prodigy) 
 
 Wittgenstein (One-armed pianist) 
 
Procedures of the New Approach 19 
 
 Symphony Conductors 
 
 Barbirolli — Xcw York Philharmonic Toscanini NBC Symphony 
 
 Symphony Rodzinsky NBC Symphony; Cleve- 
 \\ w York Philharmonic land Symphony 
 
 Symphony Steinberg NBC Symphony 
 
 Schelling \\ w York Philharmonic Sevitzki Indianapolis Symphony 
 
 Young People's Concerts Koussevitzki Boston Symphony 
 
 Ormandy — Philadelphia Symphony Golschmann St. Louis Symphony 
 Iturbi — Rochester Philharmonic ncinnati Symphonj 
 
 Stock— Chicago Symphony Kolar, Ghione Co-conductors of 
 Lang ate conductor of Detroit Symphonj 
 
 Chicago Symphony 
 
 Metropolitan Opera Conductors 
 
 inzky (German Opera) Panizza 
 
 Pellctiir (French Opera) Papi 
 
 Leinsdorf (26 years old) 
 
 Commentators 
 
 Milton Cross — Metropolitan Opera Chotzinoff — NBC Symphony 
 
 Deems Taylor — New York Philharmonic Symphony 
 
 These and other outlines were made by the students and the teacher 
 working together. For example, the day on which the outline of 
 Russian composers was developed, the teacher led the class to begin a 
 review of all the compositions which they had heard during the school 
 year by Russian composers. The students were able to remember most 
 of them, and they were permitted to refer to their notebooks for those 
 which they did not remember. As the outline was developed on the 
 blackboard — the teacher writing, and the students directing what to 
 write — the students copied it in their notebooks. 
 
 All during the school year the members of the class were required 
 to keep a notebook. This notebook was divided into three sections as 
 follows : 
 
 Compositions. — Whenever a composition was presented to the class, 
 the students wrote the name of it, the composer of it, his nationality, 
 and several words or phrases concerning the composition. 
 
 The Moldau — Smetana, Bohemian 
 Source of ihe river 
 The hunt 
 The wedding celebration (Polka) 
 
 Moonlight and the dance of the nymphs 
 The rapids 
 
 Opera. Whenever an opera was presented to the class, the stu- 
 dents wrote in their notebooks the name of the Opera, the composer, his 
 nationality, names of the principal characters, names of several compo- 
 
20 Teaching Music Appreciation 
 
 sitions taken from the opera, and a short paragraph concerning the 
 story of the opera. 
 
 A'ida — Verdi, Italian 
 Characters: 
 
 A'ida — Ethiopian princess 
 Amonoro — Her father 
 Amneris — Egyptian princess 
 King of Egypt — Her father 
 Rhadames — Egyptian captain 
 Compositions: 
 
 Celeste A'ida — Sung by Rhadames 
 
 Triumphal March — Played by a trumpet and orchestra 
 Glory to Egypt — Sung by a chorus 
 Fareivell, O Earth — Sung by Aida and Rhadames 
 The story of Aida is centered around a conflict between the Egyptians and 
 the Ethiopians. Rhadames, an Egyptian captain, falls in love with A'ida, an 
 Ethiopian princess serving as a slave girl to Amneris. The jealousy of Amneris 
 results in the death — a living burial — of Aida and Rhadames. 
 
 Artists. — Whenever an artist was discussed in class, the name and 
 identification of that artist were added to an ever-increasing list of 
 artists and their identifications. 
 
 Lily Pons — French soprano 
 
 Arturo Toscanini — Conductor of the NBC Symphony 
 Alec Templeton — Blind pianist 
 Lawrence Tibbett — American baritone 
 Lauritz Melchior — Danish tenor 
 
 Deems Taylor — Commentator on the New York Philharmonic Sym- 
 phony broadcast ; also a composer 
 Enesco — Rumanian conductor, violinist, teacher, and composer 
 
Materials of the Approach 
 
 Radio Programs and Movies 
 
 If thi course in music appreciation is conducted in the manner which 
 has been discussed in the foregoing pages, it will f>c necessar) for the 
 
 teacher to keep very well informed concerning current radio programs 
 and forthcoming movies. The following sources will aid greatly in 
 learning of the compositions winch are to be performed and of the 
 
 artists who are to perform them: 
 
 The New York Times: Sunday edition — music, art, cinema, radio, and 
 drama section. In this section appear reviews of coming movies, a detailed 
 
 schedule ^i radio programs for the week, and the names of compositions and 
 artists to be heard on the programs. The New York 'Tunes will often In- found 
 m school and public libraries. 
 
 The Radio Guide: This publication is becoming increasingly helpful. It not 
 only lists the programs, times, and stations, but also names the performing 
 artists, lists the compositions to be heard, and includes explanatory information 
 concerning artists, composers, compositions, and operas. 
 
 Time: Radio and movie sections. 
 
 Newsweek: Radio and movie sections. 
 
 Ford Sunday Evening Hour: This weekly bulletin published by the Ford 
 Company includes: (a) names of compositions which are to be performed, 
 (b) program notes for some of them, (c) a paragraph for each concerning the 
 conductor and guest artist, (d) an announcement of the following week's artist. 
 The bulletin will be mailed complimentary each week to anyone who sends in 
 a request at the beginning of the season. It is mailed very early in the week 
 previous to the broadcast and reaches the teacher in ample time for him to 
 prepare for the program. 
 
 New York Philharmonie-Symphony Society: This weekly bulletin, published 
 by the Philharmonic-Symphony Society of New York, 113 W. 57th Street, 
 includes annotated programs for the Sunday afternoon broadcasts. 
 
 Recordings of Compositions 
 
 No doubt the teacher who is reading these pages is thinking: Where 
 will I obtain all the recordings which are necessary if I base my course 
 on the radio and cinema? It must be admitted that few, if any, teach- 
 ers of music appreciation have as many records as they would like to 
 have; but in order to teach appreciation in any way, it is necessary for 
 the students to hear music. Students may conscientiously read about 
 music, and they may participate in lengthy discussions concerning it : 
 but they cannot possibly learn to appreciate music until they hear it. 
 
 To follow the conventional textbook approach to music apprecia- 
 tion, it is necessary to use many illustrations played on the victrola or 
 
 21 
 
22 Teaching Music Appreciation 
 
 piano, and the radio and cinema approach will require no greater 
 number of musical illustrations than will the textbook approach. Fur- 
 thermore, the radio and cinema offer such a wealth of good music 
 that it w r ould be absolutely impossible to teach everything they present ; 
 therefore, the teacher can select and teach compositions for which 
 illustrations are available. Each year more recordings can be added to 
 the record library. 
 
 Since there are records of good music in the homes of some of the 
 students, it is advisable to ask the students to list the names of records 
 in their homes. Most parents are quite willing to let the teacher bor- 
 row records occasionally for class use. 
 
 Reference Books 
 
 There will be no serious difficulty in finding information concerning 
 composers, as the authors of most music appreciation and history books 
 place the emphasis on the composers rather than on the compositions. 
 A selected bibliography, classified according to subject matter, appears 
 on page 25. The list is not intended to be exhaustive, as it would be 
 an unending task to list all the possible references. Those given repre- 
 sent the books found most useful bv the author. 
 
Evaluating Music Appreciation 
 
 It is necessary, of course, for the teacher of music appreciation to 
 attempt to evaluate each student's growth in appreciation. The general 
 practice seems to be to evaluate in terms of the amounl oi musical 
 subject matter which has been mastered by the students. A knowledge 
 of subject matter is highly desirable, and even necessary, but it must 
 never be confused with the student's appreciation. It is quite possible 
 that a student who rates onl\ average in a lest assigned to measure 
 knowledge about music will possess a \n\ keen appreciation of music 
 
 The process of evaluating music appreciation is a rather difficult 
 task, because appreciation is often deepest in the least demonstrative 
 child. In sonic cases the students who display the greatest amount of 
 enthusiasm about certain compositions do not really enjoy and appre- 
 ciate them, hut are only registering enthusiasm in the hope of pleasing 
 the teacher and thereby receiving good grades in the course. Other 
 students enjoy music much more than their outward reactions indicate. 
 Due perhaps to certain inhibitions developed at a very early age, they 
 are reluctant to display their real feelings. 
 
 It is hoped that the following suggestions may be helpful to 
 teachers in ascertaining the achievement of their students. 
 
 The degree of appreciation which a student has for a composition 
 will be indicated by several or all of the following responses: 
 
 Attentive listening. The student will sit quietly in his seat with an interested 
 expression on his face. As a rule, he will not whisper, nor write a note to 
 another Student, nor study an assignment for the next class, nor fidget in his 
 -eat. nor read a magazine. 
 
 Questions asked about the composition or the composer. 
 
 Questions asked about the artist who made the recordings. 
 
 Request- to hear the composition at a later time. 
 
 Requests to hear other compositions by the same composer. 
 
 Requests to hear other recordings made by the same artist. 
 
 Special effort made to hear the radio program in which the composition is 
 to be heard and significant comments made on a subsequent day concerning its 
 performance. 
 
 Attendance at a recital or concert at which the composition i- to be per- 
 formed and significant comments made on a subsequent day concerning it- 
 interpretation. 
 
 Voluntary reference work in the library to gain information concerning the 
 composer, composition, or artist. 
 
 Saving of money and purchasing a recording of the composition. 
 
 Expression of feelings by spontaneously clapping hands at the close of the 
 composition. 
 
 Bringing the attention of the teacher to magazine and newspaper articles 
 concerning composer-, artists, compositions, and instruments. 
 
 Remarks and comments made at unguarded times outside the classroom, 
 in the halls, and on the stri i 
 
 23 
 
24 Teaching Music Appreciation 
 
 Another means of evaluating the student's appreciation of music 
 is for the teacher to ask each member of the class to list the names of 
 four or five compositions which he has heard and has particularly 
 enjoyed during a certain period of time. This list should be derived 
 from the following sources: (1) compositions studied in class, (2) com- 
 positions heard on radio programs or in the movies. It will be even 
 more enlightening if each student briefly states what he likes about 
 each composition on his list. It might be helpful for the teacher to 
 ask each member of the class to list the names of four or five compo- 
 sitions which he has heard and has not particularly enjoyed during a 
 certain period of time. Similarly, as above, the student should briefly 
 state what he does not like about the compositions on his list. How- 
 ever, some students are unable to formulate in words what they like 
 or dislike about certain compositions. The teacher should therefore 
 not insist on such statements. If he does insist, the answers will prob- 
 ably be ''manufactured" ones and of no value whatsoever. If the 
 teacher calls for and keeps these lists from time to time, it will be 
 possible to check the student's development and growth in the 
 appreciation of music. 
 
Bibliography 
 
 Composers 
 
 Barbour, H. B., and Freeman, \\ . S, Story in Music. Boston: C. C. Birchard 
 
 & Company, 1937. 272 pp. $1.18. 
 Bauer, Marion, and Peyser, Ethel, How Musi, Grew S<.\\ York: ( < P. 
 
 Putnam's Sons, 1925. 602 pp. $4.50. 
 Bauer, Marion, and Peyser, Ethel, Music Through the Ages. NYw York: 
 
 G. P. Putnam's Sons. 1932. ; 72 pp. $3.50. 
 Ewen, David, Composers of Today. 2d ed. Xc\\ York: II. W. Wilson Company, 
 
 1936. 332 pp. $4.50. 
 
 \. David, Composers of Yesterday. NYw York: II. VV. Wilson Company, 
 
 1937. 448 pp. $5.00. 
 
 Faulkner, A. S., What We Hear in Music. 10th rev. ed. Camden, New Jen 
 
 RCA Manufacturing Company, Inc., 1936. 661 pp. $2.00. 
 Hansl, E I.. and Kaufmann, Helen, Minute Sketches of Great Composers. 
 
 York: Grosset & Dunlap, Inc.. 1938. 159 pp. $1.25. 
 Radio Guide, "March of Music Section.'" Chicago: Cecilia Company. $4.00 per 
 
 year. 
 Reis, Claire, Composers iii America. New York: Macmillan Company, 1938. 
 
 270 pp. - 
 Scholes, P. A., and Earhart, Will, Book of the Great Musicians. Complete 
 
 ed. New York: Oxford University Press, 1931. 435 pp. $3.00. 
 
 Artists 
 
 Ewen, David, Man with the Baton. New York: Thomas Y. Crovvell Company, 
 
 1936. 374 pp. $3.50. 
 Kaufmann, Helen, and Hansl, E. E., Artists in Music of Today. New York: 
 
 Grosset & Dunlap, Inc., 1933. Ill pp. $2.50. 
 Radio Guide, Chicago: Cecilia Company. $4.00 per year. 
 Who's Who Today in the Musical World, New York: Authors International 
 
 Publishing Company, 1938. 420 pp. $10.00. 
 
 Instruments 
 
 Faulkner. A. S., What We Hear in Music. Section III. 10th rev. ed. Camden, 
 
 New Jersey: RCA Manufacturing Company, Inc., 1936. 661 pp. $2.00. 
 JOHNSTONE, A. E., Instruments of the Modern Symphony Orchestra and Band. 
 
 Rev. and augm. ed. New York: Carl Fisher, Inc., 1928. 80 pp. 50£ 
 Kelley, E. S., Musical Instruments. Boston: Oliver Ditson Company, 1925. 
 
 243 pp. $1 
 MASON, D. G., Orchestral Instruments and What They Do. New York: Novello, 
 
 Ewer & Company, 1909. $1.50. 
 
 VTARTZ, H. \V., Story of Musical Instruments. New York: Doubleday, 
 
 Doran & Company, Inc., 1938. 365 pp. $3.50. 
 
 25 
 
26 Teaching Music Appreciation 
 
 Operas 
 
 Authentic Librettos of the French and German Operas. New York: Crown 
 
 Publishers, 1939. 504 pp. $1.75. 
 Authentic Librettos of the Italian Operas. New York: Crown Publishers, 1939. 
 
 481 pp. $175. 
 Authentic Librettos of the Wagner Operas. New York: Crown Publishers, 
 
 1938. 470 pp. $1.75. 
 Bernstein, A. M., Do-re-mi of the Nibelung Ring. New York: Greenberg, 
 
 Publisher, Inc., 1928. 140 pp. $2.00. 
 Heylbut, Rose, and Gerber, Aime, Backstage at the Opera. New York: Thomas 
 
 Y. Crowell Company, 1937. 325 pp. $3.00. 
 Kobbe, Gustav, Complete Opera Book. Rev. and enl. ed. New York: G. P. 
 
 Putnam's Sons, 1935. 993 pp. $5.00. 
 Lavignac, Albert, Music Dramas of Wagner and His Festival Theatre in 
 
 Bayreuth. Tr. by Esther Singleton. New York: Dodd, Mead & Company, 
 
 1898. $3.00. 
 Metropolitan Opera Guild, Inc. Opera Cavalcade, by R. A. Knight. New York: 
 
 G. Schirmer, Inc., 1938. 68 pp. $1.25. 
 Newman, Ernest, Stories of the Great Operas and Their Composers. New 
 
 York: Garden City Publishing Company, Inc., 1935. 3 vols, in 1. $1.47. 
 Untermeyer, Louis, Last Pirate ; Tales from Gilbert and Sullivan Operas. New 
 
 York: Harcourt, Brace and Company, Inc., 1934. 319 pp. $2.50. 
 Victor Book of the Opera. 10th ed. rev. Camden, New Jersey: Victor Talking 
 
 Machine Company, 1939. $2.00. 
 Wier, A. E., Grand Opera at Home. Rev. ed. New York: D. Appleton-Century 
 
 Company, Inc., 1927. (Whole world ser., No. 3) 256 pp. $1.25. 
 
 Compositions 
 
 Barbour, H. B., and Freeman, W. S., Story in Music. Boston: C. C. Birchard 
 & Company, 1937. 272 pp. $1.18. 
 
 Bernstein, Martin, Introduction to Music. New York: Prentice Hall, Inc., 
 1937. 396 pp. $3.00. 
 
 Cross, Donzella, Music Stories for Girls and Boys. Boston: Ginn and Com- 
 pany, 1926. 156 pp. 80tf. 
 
 Faulkner, A. S., What We Hear in Music. Analysis Section. 10th rev. ed. 
 Camden, New Jersey: RCA Manufacturing Company, Inc., 1936. 661 pp. 
 $2.00. 
 
 Gilman, Lawrence, Stories of Symphonic Music. New York: Garden City 
 Publishing Company, 1937. 359 pp. $1.00. 
 
 Goepp, P. H., Great Works of Music. New York: Garden City Publishing 
 Company, 1935. 3 vols, in 1. $1.59. 
 
 Haggin, H. B., Book of the Symphony. New York: Oxford University Press, 
 1937. 331 pp. $5.00. 
 
 Hale, Philip, Great Concert Music. New York: Garden City Publishing Com- 
 pany, 1939. 400 pp. $1.49. 
 
 Kaufman, Schima, Everybody's Music. New York: Thomas Y. Crowell Com- 
 pany, 1938. 320 pp. $2.50. 
 
 Kinscella, H. G., Music and Romance for Youth. Camden, New Jersey: Victor 
 Talking Machine Company, 1930. 422 pp. $2.25. 
 
Bibliography 
 
 McKinney, H. D.. and Vndbsson, W. k . Discovering Mum, New York: 
 American Book Company, 1934 334 pp $3.00 
 
 Miessner, \\ . O., Guide to Symphonic Mum,. Ne* York: Silver, Burdetl ^\ 
 Company, 1936. ( >o pp, SI 00. 
 
 l, Charles, Victor Hook of the Symphony New York: Simon and 
 Schuster, Inc., L934. 530 pp. $3 
 
 Spaeth, S G., Great Symphonies. New York: Garden Cit) Publishing Com- 
 pany, 1936 361 pp. SI mi 
 
 Spaeth, S. G., Stories Behind the World's Great Music. New York: McGraw- 
 Hill Book Company, Inc., 1937. 373 pp. $2.50. 
 
 Music Dictionaries 
 
 Baker, Theodore, Dictionary of Musical Terms. 21 si ed. rev. and augm. New 
 
 Y rk: (.. Schirmer, Inc., 2?7 pp. $1.50. 
 
 Musical Dictionary. Boston: Oliver Ditson Company, 1906. $1.75. 
 Grove. George, Dictionary of Music and Musicians. New York: Macmillan 
 mpany, 1935. Pop. ed. 6 vols. $18.00. 
 
 Music Encyclopedias 
 
 HES, RUPERT, Music Lover's Encyclopedia. Rev. ed. New York: Garden City 
 
 Publishing Company, 1939. 877 pp. $1.98. 
 PARKHURST, W'ixthrop. Encyclopedia of Music and Musicians. New York: 
 
 Crown Publishers, 1937. 662 pp. $2.75. 
 Pratt, W. S., New Encyclopedia of Music and Musicians. New and rev. ed. 
 
 Nt u Y-.rk: Macmillan Company, 1929. 969 pp. $3.00. 
 Schole?. P. A., Oxford Companion to Music. New York: Oxford University 
 
 091 pp. $6.50. 
 Thov SCAR, International Cyclopedia of Music and Musicians. Xew York: 
 
 Dodd, Mead & Company, 1939. 2287 pp. $12.50. 
 Wier, A. E., Macmillan Encyclopedia of Music and Musicians. Xew York: 
 
 Macmillan Company, 1938." 2089 pp. $10.00. 
 
UNIVERSITY OF ILLINOIS-URBANA 
 
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