The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1883-06-29
singlng in the public SCHOOLS.

When the study of singing was first
introduced into the public schools of
Boston, Che most utopian anticipations
were INDUCED IN with regard to the
degree andValue of the musical culture
that would then become the acquisition
Of every child. Two advantages, in
particular, were counted upon: That
fluent singing by note would become
common, and that a foundation would
be laid for a'genuine appreciation of
good music. To some extent, these ex-
pectations have been realized. A GER
tain very moderate knowledge of must
cal notation has become general among
the younger people-not only of that
city but of almost all other cities
throughout the country, for into nearly
all OF them music has been introduced.
Even this moderate facility in reading
music has served as means of enlarg-
ing the pupils practical acquaintance
with musical literature, and to that ex-
tent the school instruction has done
something to advance musical taste
But, on the other hand, it is very far
from the truth, that the ability has be-
come general to sing accurately by
note any but the simplest music, even
among the more musical of the stu
dents in these schools. 1t is equally
doubtful whether the wider dissemina-
ton of musical taste is to any con-
siderable extent related to the public
Schoolinstruction in music.
There is, however, more serious
question which deserves to be eonsid-
cred. 1t is, whether the exercise of
singing as commonly conducted in the
public schoolsis not positively harmful
to the voice and destructive to future
ability to sing artistically,
Briefly mentioned, the faults of cur
rent instruction are these: Everything
is sacrificed to a knowledge of musical
notation. The voice is developed only
in respect to power, and this, unfort
unately, in way which must be en-
tirely undone whenever the study of ar
tistic singing is begun. Instead of soft,
pleasant, expressive voices, one hears
in school almost universally hard,
shouty tone, unsympathetic and mex
pressive. This tone is produced by an
improper action of the throat which alb
solutely prevents the production of an
emotional tone. In this way is formed
a bad habit which must be entirely I'M
done before expression can be acquired.
Singings thus conducted is not even o
healthful exercise, for it engenders vo-
cal habits which react unfayorably upon
the throat. s
Nor do the musical textbooks exhibit
a real progressiveness toward higher
and nobler ideas. How far this is the
case will appear as soon as we compare
the singing-books with the ordinary
school readers. In the latter the child
begins with easy words and very simple
thoughts. From this heis led to longer
words, more involved sentences and
more mature ideas. The progress does
notstop short of Shakespeare and Milton.
Instead of such a progressive course in
music, the pupil is held to the lower
grade. Even where the difficulties of
music-reading are gradually increased,
the musical ideas are not correspond
ingly raised. a
a All of these shortcomings finally re-
duce themselves to two, namely: To-
norance of or indifference to the physio-
logical relation between singing and
the vocal organs; and second, apathy
with regard to all kinds of musical re-
lations beyond the simplest and most
obvious.
This state OF things, which prevails
for the most part throughout the coun-
try, is to be accounted for or, at least,
has been influenced by two or three
circumstances. The music teachers are
chosen mainly for their knowledge of
notation and the sight-reading of music.
They are generally earnest, practical
teachers, with perhaps turn of music,
but with no systematized training in
the physiology of the vocal organs,
and without practical acquaintance
with the technic of vocal culture. They
are precentor-like singers, with loud,
unsympathetic voices, and with a low
grade of musical ideas. Prof Tom
hers IN the Century.