The San Francisco call., 1908-11-14
Music as Factor in the Development Of the Chill
Ry EsteHe CARPENTER,
Supervisor of Music, San Francisco
Schools

Schools
-HE following question often
comes to my mind: DO the
parents of our girls and boys,
realize what is being done for
their children in musical way
in the public schools? Do they realize
the patient endeavor and skill that is
put forth daily by the teachers to ac-
complish results? Do they realize the
many children who come to school
with practically no musical ear? Do
they realize, that the weekly practice,
though only an hour, does much to
cultivate and develop the musical fac
ulties?
I have often wished 1 could meet the
fathers and mothers of all these dear
children in the schools. 1 have often
wished 1 could tell them few OF my
aims and ambitions for these girls and
bows, and what is actually being done
every day.
We all know that from the earliest
ages the song and dance have been
Joined together and that both are the
outcome of the feelings, and that the
Egyptians, Hebrews and Greeks were
distinguished for the song and dance
and for their beautiful plays.
1t is because of this knowledge that
the little ones in the younger grades
are given the motion songs that appeal
to them so strongly. And 1t is because
of the knowledge that the emotions
are the cause and produce action ana
vocal utterances that we make the
selection of strong rhythmical songs
for the child who is just beginning 10
y fctn
is the history of the race. BY the use
of strong rhythms which were caused
by elemental emotions we nope TO
awaken a response to rhythm ana
arouse the elemental emotions IN the
child.
The savages in their music endlessly
repeat rhythms of different iorms py
conclusions on instruments and by
chants and repetitions OF words, SO
the child has infinite delight In beat
ing the drum. in beating the OBJECTS
about him. fences, tables, ETC.. and he
takes great pleasure in swaying the
arms and body and marching TO music.
Everything in kindergarten and pri-
mary grades that can take on.a rhyth-
mic character should do so.
Of course. other music may be intro
duced. but the rhythmical music should
have steps, motions, gestures. SO that
the muscles may respond. How can
any one learn to beat time unless the
muscles respond to the pulse OF the
music?
Many songs have been selected for
this side of the early musical develop
1nent, and many steps and gestures have
been given TO develop the rhythmical
impulses of the child.
Have you ever noticed a receiving
class singing these songs? How the
children enjoy the music and the mo-
tions, and the little faces are alive with
pleasure because they are satisfied
that they are acting out their i'm
pulses? They are at the same time
singing songs filed with melody, be-
cause these songs have been especially
selected and are the products of our
best composers. They are tuneful and
suited to the interests and voices of
the little folk.
Along with these songs, the children
are daily gaining experiences in sing
ing correctly. for only the sweetest
tones are desired. and these are only
obtained by the habit of correct breath
ing and by using the tongues and lips,
so that correct quality Of tone is pro-
duced.