Gloucester County Democrat., 1909-04-22


then, shall we be able to talk of SUI
perseding the classics in our educa-
tional system. Under the present
conditions they remain vitality i'm
portant to the welfare of the country
as means to accurate expression and
i clear thought in the communications
between man and man. A knowledge
not only of the English but of those
tongues from which our own has been
developed renders the teacher most
able and best equipped.
Thus with occasional flights into the
ideal it has been the chief aim of this
paper to present solely practical
thoughts, and if, after all that has
/ been said and elaborated upon, moth
ing has been strongly impressed, it
| is the earnest hope that out of the con-
| fused mass of ideas, one at least, may
gradually take form which will make
us aware of and constantly remind us
of our responsibilities and duties as
teachers of English.
The first paper of the afternoon ses-
sion was perhaps the most pleasing of
the day because the reader, Miss
Carrie A. Stevens, principal of We
nonah school, illustrated it by class
of dozen pupils. Her topic was
ssMusic in the Public Schools
and it was apparent that Miss Stevens
is thoroughly familiar with the sub
ject. She said:
Although there are still some who
profess to believe that music, as a
subject, has no place in our public
school curriculum, it is everywhere
rapidly gaining prominent and per-
manent place in the required course.
Some of us even believe it stands in
Importance ahead of manual training
1t is not, however, the intention to
put forth at this time any excuses for
its prominence or arguments at to it's
desirability as an established subject
and requirement in all schools, for it
is granted, without argument, that
everyone here heartily favors the
adoption or continuance of definite
study of music in the grades, because
of its refining power, its tendency to-
ward moral uplift and the general
culturing effect of good music upon all
people.
The purpose of this paper is to put
in review before us some of the first
requirements in public school music,
the ends to be aimed for and some
ways and means for securing these
ends.
First of all, we will never allow any
but good music, which does not neces-
sarily mean difficult music, nor does
it imply classical compositions. It
does, however, bar out silly, cheap
and meaningless stuff, and it also
means that whatever is attempted
must be as good a rendering as teach
er and pupils together are able to
make it. 1t means that the songs
should teach patriotism, devotion to
God, home and kindred of ma
ture and for each other of a whole
some, pure, wholehearted quality.
Give plenty of inspiring songs, songs
that stimulate the ambition give
many lullabys and songs of home re-
lationship, songs of birds and flowers
To the upper grammar grades give al
so the old standard melodies, such as
Annie Laurie" Kentucky Home, .
Sweet Alton" Lead Kindly Light"
Sweet and Low Silent Night" and
others without number, to say nothing s
of the numerous good modern compo-
sitions. So dong as the music is good
it matters not so much what we teach
as how we teach it.
To those, if there are any, who do
not teach music and whose efforts in
that direction are confined to the daily
morning exercises, it may be said
that much can be done right there.
Begin by creating an interest in the
songs. For this purpose put the old,
worn-out songs aside for a rest-by
the way, the rest is an exceedingly i'm
portant factor in music, although it
is not always recognized as such put
the old ones aside for a while, at
least, and have something new-not
new to the teacher, but new and re-
freshing to the class. Always have
the songs suitable and in season, if
possible, then it is not difficult to
arouse their enthusiasm. Talk about
| the songs. In the advanced grades,
learn who the composer is and some
interesting things about each one. But
more than anything else, get the mean
ing of the words and the sense of the
song-get the composers view point,
| if you can (or your own-have one
anyway and train your classes to
show by their singing that the song
means more to them than noise and
! jingle of words. A noise must never
be accepted for music. We must know
the difference and we muct teach the
difference between music and noise.
Above all else, avoid at all times
harsh, disagreeable, strident, nasal or
| throaty tones. Insist on, and be sure
you secure, smooth, gliding, even
| tones carried on the breath. To keep
them light and pleasing they must be
| lifted on the breath and ffoated out
never forced otherwise or pushed so
| they rake the throat This, besides
being SO unpleasant to listeners, will
ruin the best of voices. Moreover, the
pushing and harsh singing tends to
dragging, which is supreme abomin-
alton. This training for proper, light,
smooth, agreeable tones very quickly
and effectually trains the ear, and a
good musical ear is most valuable
asset.
| Some good exercises for producing