The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-11-20
POTPOURRT PAPERS.
By FRANCIS L. RAwsoN.
(Fourth Paper J

ruins of ancient Rome-the Palace of
the Caesars may be seen large section
of the foundation-artifciai rock
which could only have been suddenly
broken by some agency of considerable
force. But an acorn once found its way
into slight depression, or crevice,
where the moss of many years had accu-
mulated enough of Natures life-giving
principle with which to welcome his adj
vent and embrace him with her foster
ing care Time passed on. The dews
of heaven watered the isolated home of
the acorn, and the quiet little worker,
through unceasing days, weeks, months
and years. put forth its tiny tendrils, un-
til it caused the stubborn rock to yield
to its persuasive influence. The rock
parted asunder. To-day there stands a
sturdy oak, like conqueror in his ma
jesty and strength, yet adorned with Ma
lures simplicity, firmly rooted, anchor
ed and supported by that which once so
stubbornly resisted (the pressing solici-
tude of its gentle, though persevering,
determination.
From this little worker may we not
draw valuable lesson which shall en-
courage us in our humble labors? But
let us for moment endeavor to imagine
how much time and toll it must have re-
quired to construct the great Pyramids
of Egypt, especially the greatest-that of
Cheops upon the plains of Gezah, az
miles from Cairo, which vertical height
is, if we remember, 480 feet, the base
covering about thirteen acres. Consider,
also, that large proportion of the seven
millions of tons of masonry was taken
out of the granite quarries in the upper
country, several hundred miles away.
This monumental pile stands as one Of
the "seven wonders of the world" and
also as all evidence of the vain ambition
of man. There it stands, lasting mon
ument for all coming time. People
stand and gaze in silent awe, and medi-
tate upon the crafty handiwork of
Pharoah, wondering that so much time
and treasure should have been thus ap-
propriated. Is there not q lesson to be
drawn from this? Are we not, as a
teacher, helping to build a structure
which shall be monument for future
admiration, as durable as the Pyramids
of Gezah or Sakkara the tombs of the
Sacred Bulls at Memphis, of the Kings
at Thebes, or the great temples at Den
derah and Karnak? Are we not build
ing structure upon scientific principles
to be admired by the passing multitude,
a work Of art which shall be one of the
most powerful agencies we have of i'm
parting delicacy to the senses, refine
ment to actions, and implanting good
ness in the heart With this thought
we present the subject of our fourth pa
per in the following question:
WHAT ARE THE REQUIREMENTS OF A
Music TEACHER?
Within the last two decades great adj
vances have been made in the art of
teaching in all branches of education
Literature, Science, Music and Plastic
Arts-in this country. The art of teach
ing in the literary and scientific depart
ments seems to have outstripped, in
great measure, the musical and other
arts. To our mind, the great progress
which has been made in the literary and
scientific departments is due to the or
ganized efforts of the educators from
which common, progressive moral
method has generated. On the other
hand, the lack of such organized efforts
and normal method on the part of
music teachers and others is the cause
of so much inefficiency, friction and open
jealousy in the music department, both
vocal and instrumental. Possibly none
will deny the requirements of a music
teacher in general Of to-day are largely
in excess Of one hundred, fifty, or even
twenty years ago. To-day, as of yore,
we find musical education is the gen
eral requisite, as it mist ever continue
to be; but the standard of culture is
constantly rising. The culture cannot
concentrate in single branch, as in
times past, but general culture is de-
manded. A musical education NAV be |
divided into three classes-Vocal, Instru-
mental and Theoretical-each of which
is more or less essential to well-order-
ed musical education. The vocal in
structor should have more than simple
knowledge of the laws of notation. He
should understand the laws that govern
the delicate instrument by which tones
are generated be able to give proper
examples be thoroughly versed in the
laws or technique OF style have a |
knowledge of piano-forte and organ play
ing, sufficient to accompany the student Il
and degree of theoretical knowledge, |
sufficient, at least, to analyze COMPOSE
ton, demonstrate the effects of different |
measural forms, point out the phrasing,
and explain the different movements. |
Such knowledge viii enable the teacher
70 more fully interpret the idea of the
composer, elements necessary to cor
rect style and expression. Lastly: A
knowledge of the different classes of |
vocal compositions, such as songs, bal
lads and arias of various styles and |
grades, part songs, glees, secular chorus
es, psalmody chants, anthems and sacred |
chOruses.
ITO be Coq,tinued.l
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