The Northern Pacific farmer., 1883-06-07
singing in the Schools.

Theodore Thomas indorses, in the
June Centuary, William L. Tomlins'
views "On the Training of Children's
Voices" by way of introducing them to
the readers of the Centuary, and Mr..
Tomlins says in part: "When the study
of singing was first introduced into the
public schools of Boston, the most utop.
ian anticipations, were INDUCED in with
regard 10 the degree and value of the
musical culture that would then become
the acquisition of every child. Two ad-
vantages, in particular. were counted
upon: That fluent singing by note
would become common, and that q
foundation would be laid for a genuine
apprentice of good music. To
some extent these expectations have
been realized. A certain very moder.
ate knowledge of musical notation has
become general among the younger pee
ple-not only of that city, but Of almost
all other cities throughout the country,
for into nearly all Of them mueic has
been introduced. Even this moderate
facility in reading music has served as a
means of enlarging the pupils practical
acquaintance with musical literature, and
done something to advance musical
taste.
"But, on the other hand, it is very
far from the truth, and the ability has
become general to sing accurately by
note any but the simplest music, even
among the more musical of students in
these schools. It is equally doubtful
whether the wider dissemination of mu-
sical taste is to any considerable extent
related to the public school instruction
in music.
"There is, however, a more serious
question which deserves to be con-
s1dered. 1t is, whether the exercise OF
singing as commonly conducted in the
public schools is not positively harmful
to the voice, and destructive to future
ability to sing artistically.
rent instruction are these: Everything
is sacrificed to knowledge of musical
notation. The voice is developed only
in respect to power, and this, unfortu-
nately, in a way which must be entirely
undone whenever the study of artistic
singing is begun. Instead Of soft, plea
SAINT, expressive voices, one hears in
school almost universally hard, shouty
tone, unsympathetic and inexpensive.
This tone is produced by an improper
action of the throat which absolutely
prevents the production of an emotional
tone. In this way is formed bad habit
which must be entirely undone before
expression can be acquired. Singing
thus conducted is not even healthful
exercise, for it engenders vocal habits
which react unfavorably upon the throat.
Nor do the musical textbooks exhibit
real progressiyeness 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 very easy words and very
simple thoughts. From this he is led to
longer words, more involved sentences,
and more mature ideas. The progress
does not stop short of Shakespeare and
Milton. Instead of such a progressive
course in music; the pupil is held to the
ties of music reading are gradually in
creased. the musical ideas are not cor
respondingly raised.
Cali of these shortcomings finally re-
duce themselves to two, namely: Ignor-
aDce of or Indifference to the physiologi-
cal relation between singing and the
vocal organs: and second, apathy with
regard to all kinds of musical relations
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 kno wledge of
notation and slght-reading of music.
They are generally earnest, practical
teachers, with perhaps turn for music,
but with no systematized training in the
physiology of the vocal organs and with
out practical acquaintance with the tech
mic Of vocal culture. They are precen-
tor-like singers with loud unsym pathet-
ic voices, and with low grade of musi-
cal IDEAS"