Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-07-31
NJ i S &c
BY HELEN FETTER.

are So organizations which
are sponsoring operate productions,
regularly or asmodically, but at
least productions, throughout this
country. There have been "a new
operas given their premieres i'll this
country which we're outstanding
first performances. between October.
1925. and April, 1927. Also 10 SYM
phonic works within that period
were given first production in Amer.
lean cities, New York, of course.
claiming the largest number, but
other cities, including Washington,
being i'll the list.
These facts. and a number OF
others equally interesting and en-
couraging to those who are keen to
see America progress along cultural
lines. are pleasantly set forth i'll the
recently issued Musical Americas
Guide for 1927, which is. as the cover
states, "a digest Of the musical re-
sources of the United States and
Canada" This guide, which has
been published for several seasons.
now is improved i'll each issue and
seems to contain really useful and
valuable information. admirable both
for accuracy and up-to-dateness.
In addition TO the new feature
which lists data concerning premicrcs
in this country of operate and SYM
phonic works, another novelty with
the current issue is the guide to
Europe's festivals. The fact that
such a guide was found practicable
shows not only the increase in the
number and variety Of European
musical entertainment during the
Summer months-it also shows the
increased patronage such festivals
find with the American public who
go abroad" Even behind these
facts lies the most basic fact for pro-
found appreciation, and that is the
fact that Americans are becoming
sufficiently interested in music per sc
TO make the attendance at these fes-
rivals an integral part OF their plans
for seeing Europe
The splendid work of the Ameri-
can Federation of Music Clubs is
well set forth in this guide. Conn
ments on the expansion seen within
the past few years in fields OF light
and grand opera alike, are interest
ingly eXpounded. The business of
making musical debut in New York
is discussed with frankness and
facts. The growth of musical educa-
ton in America is treated editorially.
In this article it is interesting to find
the following statements, not espe-
ciaHy novel, but given from a slightly
different angle than we are accus-
toned to hear. 1t says, in part:
1T is commonplace Of our day
that European training is no longer
essential for an American profess
sional student. who can find in this
country excellent and authoritative
teachers in every branch of technic.
What is not so generally recognized
is the fact that the amount of musi-
cal instruction provided in the gen.
eral educational system of the United
States surpasses that of any other
nation.
From its small beginnings less
than a century ago, public school
music has made extraordinary prog
,ress. In 1928 Lowell Mason and VIII
liam Woodbridge Shareholder efforts
to introduce music into the eurric-
ulun1 of the Boston public Schools.
AT that time there was a strong
prejudice against music as a part
OF the common school education, and
the first experiments were carried
on in conjunction with the newly
founded Boston Academy Of Music.
. Other cities followed the
pioneer example of Boston during
the next four decades. Buffalo es-
tablished music in the schools in 1843.
Pittsburgh in 1874, Cincinnati in
1916, Chicago in l8+S, Cleveland and
San Francisco in 1851, St. Louis in
1852, New Haven in 1855, Providence
in 1856, Salem in 1858, Baltimore in
1889, Philadelphia in 1860. Lowell in
1896. Troy in 1873 and Portland in
1876"
In Washington, it might be added
that although there was music in
the public schools, it didn't amount
TO anything to get up and shout
about until about 10 years ago. when
1T began picking up and getting to
the real facts for students to absorb
rather than very superficial gen
eralized style of giving music to the
students. Now the major music
credits established in the public
school work and the elementary
musical training given the very small
children in the grades are doing
much to awaken and sustain a real
Interest in the musical studies among
students generally under the current
regime in the public schools. More
credit to DR.. Barnes and his corps
OF hne, earnest assistants.
To return to the Musical America
Guide, it also lists leading organiza-
tons. musical activities in cities all
over the country, artists available for
professional engagements, schools of
music and directors, representative
music teachers, conventions, festivals.
etc. In the prizes and scholarships
for 1928 we find in the list of 40
offers one from Washington, d. c.
The Rubinstein Club OF this city Of
fers a $500 prize for the best choral
composition for women's voices, with
or without solo parts.
ANN du Az d!i, tnc BuluS il very
wide IN its survey. The only coun-
tries untouched in any way for musi-
cal reports are those of the Orient
and the South American countries,
III which latter countries they are
enjoying at this time the height Of
brilliant Winter" season while we
are listening to the radio programs
available, with electric fans and cool
drinks as essentials to completing a
comfortable picture.
= =
WHILE on the subject Of young
+ w Americas musical progress It is
interesting to review a few of the
statements made recenttv in a let