The Bossier banner. [volume] (Bellevue, Bossier Parish, La.) 1859-1952, 1883-07-26
Singing in the Public Schools.

When the study OF singing was f1rSt
introduced into the public schools of
Boston, the most ntopian anticipations
were indulged in with regard to the
degree and value 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 foundation would
be laid for genuine appreciation of
good music. To some extent, these ex-
pectations have been realized. Al fcer-
tain very moderate knowledge of musi-
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 fan
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
school instruction in music.
There is, however, a 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. ifs9sa}
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-
Funately, in a way which must be en-
tirely undene whenever the study of ar
tistic singing is begun Instead of soft,
I pleasant, expressive! voices, one hears
in school almost universally q hard.
shouty tone, unsympathetic and mex
presslve. This tone is produced by an
improper action of the throat which abb
solutely prevents the production of an
emotional tone. In this way is formed
bad habit which must be entirely un=
done before expression eanbe acquired
Singings thus conducted is. not even a
healthful exercise, for it engenders yo-
cal habits which react unfayofably upon
the throat.
Nor do the musical textbooks exhibit
a real progressiEeness toward higher
and nobler ideas. How far this is the
case win 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
moro mature ideas. The progress does
| notstop short of Shakespeareand Milton.
Instead of such progressive course in
music, the pupil is held to the lower
grade. Even where the difficulties of
111usic-reading are gradually increased,
the musical ideas are not correspond.
.ingly raised. is1.a "a.
All of these shortcomings finally re
dllce themselves to two, namely: Ig-
norance of on indifference to the physio-
! logical relation between singing and
the vocal organs; and second, apathy
with regard to all kindsrof musical re-
lations beyond the simplest and most
obvious. aiiai lIag sg8afsa vsn g.
| This state of things, which prevails
Tor the most part throughout the corln-
! 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 oi
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 teehnic of vocal culture. They
are precentor-like singers, with loud
unsympathetic voices, and with q low
grade of musical ideas. Prot. Tom.
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