OFFICIAL REPORT OF THE FOURTEENTH ANNUAL MEETING OF THE MUSIC TEACHERS' NATIONAL ASSOCIATION, The AmericanoSociety for the Promotion of Musical Art, HELD AT DETROIT, MICH. J'TJiilT 1, 2, 3 ^isriD 4, 1890- f _ — EDITED B7 THE SECRETARY, Published by the Association. — OF THE — ISIC TEKIEES' HTlfllil iSS'I, The American Society for the Promotion of Musical Art, FOURTEENTH ANNUAL MEETING HELD AT DETROIT, MICH. TUESDM, WEDNE8DJIY, THURSDAY I FRIDfiY, JULY 1 2, 3, 4, OFFICERS AND COMMITTEES. A. R. PARSONS, President Steinway Hall, New York. H. S. PERKINS, Secretary 174 Wabash Ave., Chicago, 111. W. H. DANA, Treasurer Warren, Ohio. EXECUTIVE COMMITTEE. J. H. HAHN Detroit, Mich. A. A. STANLEY Ann Arbor, Mich. F. H. PEASE YpBilanti, Mich. PROGRAM COMMITTEE. CALIXA LAVALLE 156 Tremont St., Boston, Mass. WILSON G. SMITH 55 Euclid Ave., Cleveland, Ohio. DR. F. ZIEGPELD Central Music Hall, Chicago, 111. EXAMINING COMMITTEE OF AMERICAN COMPOSITIONS. ARTHUR FOOTE 2 W. Cedar St., Boston, Mass. AD. M. POESTER P. O. Box 883, Pittsburgh, Pa. AUGUST HYLLESTED Central Music Hall, Chicago, 111. A. I. EPSTEIN (Altbknate) 2214 Lucas Place, St. Louis, Mo. AUDITING COMMITTEE. F.A.PARKER . Madison, Wis. ■C. W. LANDON Claverack, N. Y. F. R. WEBB Staunton, Va. VICE-PRESIDENTS. ALABAMA C. L. DOLL 308 S. Perry St., Montgomery ARIZONA LUDWIG THOMAS Prescott ARKANSAS MRS. L. HEERWAGEN Little Rock CALIFORNIA J. H. ROSEWALD ........... 938 Geary St., San Francisco COLORADO OTTO PFEFFERKORN University, Denver CONNECTICUT N. H. ALLEN 382 Main St., Hartford NORTH DAKOTA MRS. F. KLAPP Jamestown SOUTH DAKOTA MRS. MYRA ROSSAVAGONEE Yankton DELAWARE C. B. RHODES Wilmington DISTRICT OF COLUMBIA. . .ROBT. C. BERNAYS 1218 Twelfth St., Washington FLORIDA MRS. ANKIE G. PARKER Ocala GEORGIA CONSTANTIN STERNBERG Atlanta ILLINOIS C. B. CADY Auditorium, Chicago INDIANA W. P. HEATH Ft. Wayne IOWA A. ROMMEL Mount Pleasant KANSAS JOHN W. METCALF Wichita KENTUCKY RUDOLF DE ROODE Lexington LOUISIANA J. W. H. ECKERT, 402 St. Andrew et New Orleans MISSOURI HENRY F. ROY, 256 Lisbon st Lewiston MARYLAND HENRY SCHWING, 19 Lexington st Baltimore MASSACHUSETTS S. B. WHITNEY, 125 Tremont st , Boston MICHIGAN J. H. HAHN, 654 Woodward ave Detroit MK^NESO^A WALTER PETZET, 801 South 12th ave Minneapolis MISSOURI M. L EPSTEIN, 2214 Lucas pi St. Louis MISSISSIPPI N. A. BARBE Verona MONTANA MRS. E. J. McMlLLAN Deer Lodge NEBRASKA ERMINA D. COCHRAN, State University Lincoln OTVADA MRS. A. LAYTON Virginia NEW HAMPSHIRE E. T. BALDWIN, P. O. Building Manchester NEW YORK CHARLES W. LANDON Claverack NEW JERSEY HENRY HARDING Freehold NORTH CAROLINA W. H. NEAVE Salisbury OHIO JOHANNES WOLFRAM Canton OREGON E. COOK, Arlington Building Portland PENNSYLVANIA CHARLES H. JARVIS, 3738 Locust st Philadelphia RHODE ISLAND H. C. MACDOUGALL, 24 Summer st Providence SOTTH CAROLINA ERNST BROCKMAN Columbia TENNESSEE MRS. E. T. TOBEY, IIB Hill st Memphis TEXAS HORACE CLARK, JR Corpus Christl UTAH JOHN P. ME AKIN, box 877 . ..Ogden VERMONT .....M. H.EDDY.... St. Johnsbury VIRGINIA F. R. WEBB .... Staunton WEST VIRGINIA LILY R. CHURCH, 1208 Ann st .Parkersburg WASHINGTON F. MUELLER Spokane Falls WISCONSIN J. C. FILLMORE Milwaukee €ANADA EDWARD FISHER, 12 Wilton Crescent,.. .Toronto, Ont. € AN AD A W. E. FAIRCLOUGH, 17 McGill College, Montreal, Quebec o:f:fioe]e,s mm TEHEES' IlTIOHl ISS'I The American Society for the Promotion of Musical Art, -FOR 1892- Fifteenth fmul Meeting to be held in Mmneapolis, Minn. TUE8D11Y, WEDNE8DE THURSDAY, FRIDAY, ^^^-^'^U^^^^ and 2, OFFICERS. J. H. HAHN, President Detroit, Mich.- H. S. PERKINS, Secretary 174 Wabash Ave., Chicago, IIU W. P. HEATH, Treapurei Oehkosh, Wis. EXECUTIVE COMMITTEE. CARL V. LACHMUND 511 Nicollet Ave., Minneapolis, Minn^ S. A. BALDWIN 330 W. 3d Street, St. Paul, Minn. GUSTAVUS JOHNSON ...511 Nicollet Ave., Minneapolis, Minn. PROGRAM COMMITTEE. WILSON G. SMITH, 55 Euclid Ave., Cleveland, Ohio. E. J. MYER 36 E. Twenty -third St., New York City. N. H. ALLEN 382 Main St , Hartford, Conn. EXAMINING COMMITTEE OF AMERICAN COMPOSITIONS. ARTHUR FOOTE (Chaibman) 2 W. Cedar St., Boston, Mass. E. R. KROEGER 3315 Laclede Ave., St. Louis, Mo. %^ CHAS. A. JARVIS 3738 Locust St., Philadelphia, Pa. J. H. ROSEWAJjD (Altbbhate) 938 Geary St., San Francisco, Cal. AUDITING COMMITTEE. J. W. RUGGLES (Chairman) Fayette, Iowa.. C. H. CONGDON 842 St. Anthony St., St. Paul, Minn. r. A. PARKER 14 W. Gilman St., Madison Wis. VICE PRESIDENTS. ALABAMA C, L. DOLL Montgomery ARIZONA LUDWIG, THOMAS Prescott CALIFORNIA J. H. ROSEWALD, 938 Geary at San Francisco COLORADO HENRY H. NAST Denver •CONNFCTICUT F. P. McCORMICK New London DISTRICT OF COLUMBIA... OTIS B. BULLARD, Con. of Music Washington DELAWARE C. B. RHOADES Willmington FLORIDA MRS. ANKIE GREEN PARKER Ocala ILLINOIS C. B. CADY, Auditorium Chicago INDIANA MAXLECKNER, 282 N. Penn. St., Indianapolis IOWA J. W. RUGGLES Fayette KENTUCKY J. MAURICE BACH , Henderson KANSAS N. S. GILBERT Leavenworlh LOUISIANA ..ANNA BOULTGNY New Orleans MASSACHUSETTS S. B. WHITNEY, 125 Tremont st Boston IklAINE ; HENRY F. ROY, 255 Lisbon st Lewiston MARYLAND RICHARD BURMEISTER Baltimore MICHIGAN A. A. STANLEY Ann Arbor MINNESOTA A. A. BEE BE Heron Lake ^MISSOURI M. L EPSTEIN', 2214 Lucas Place St. Louis MISSISSIPPI N. A. BARBE Verona :M0NTANA M. H. HERSCHFIELD Helena ISTEBRASKA .....J. C. MILLER Li»coln NEW HAMPSHIRE...., E. T. BALDWIN, P. O. Building.... Manchester NEW JERSEY HENRY HARDING Freehold ■NEW YORK. ..^ CHAS. W. LAN DON Claverack NEVADA MARYE. QUAIFFE Reno l^ORTH CAROLINA LISSIE M. SOUTHGATE Dprham NORTH DAKOTA MRS. FREDERICK KLAPP Jamestown OHIO W. L. BLUMENSCHEIN, Con. of music Dayton OREGON E. COOK, Musical institute Portland PENNSYLVANIA CHAS. H. JAR VIS, 3738 Locust st Philadelphia RHODE ISLAND. .. , JULES JORDAN, 54 Broadway Providence SOUTH DAKOTA TENNESSEE... MRS. E. T. TOBEY, 115 Hill st Memphis TEXAS H. CLARK JR Corpus Christi UTAH JOHN P. ME AKIN, 217 E. 4th st, south.. .Salt Lake City VERMONT M. H. EDDY St. Johnsbury VIRGINIA F. R. WEBB Staunton WEST VIRGINIA LILY R. C HURCH, 1308 Ann st Parkersburg WISCONSIN F. A. PARKER ...Madison CAlfAI>A. ONTARIO EDWARD FISHER,12 Wilton Crescent Toronto QUEBEC W. E. FAIRCLOUGH, 17McGill College ave. . . .Montreal STATE ASSOCIATIONS FOR 1891. CONNECTICUT. N. H, Allen 382 Main St., Ha-rtfokd Pre8idbj?t. F. A. Fowler 851 Chapel St., New Haybh Secretary^ ILLINOIS. H. S. Perkins .174 Wabash Ave., Chicago Prrsident. Frederic Grant Glbason. 84 Auditorium, Chicago Secretary.. INDIANA. J. A. Zeller La Fayette President. J. F. KiNSEY La Fayette Secretary. IOWA. J. W. RuGGLEs Fayette PrEkSident. Anna L. Failor Burlington Secy.-Trbas. KANSAS. William MacDonald Lawrence *. .President. H. E. ScHULTz 1120 Main St., Kansas City Secretary KENTUCKY. KUDOLPH DE ROODB LEXINGTON PRESIDENT. Ellis O. Kidd Lexington.. Secy.-Treas. MICHIGAN. J. H. Hahn Conservatory of Music, Detroit President. F. A. Abel 40 Fort St., West, Detroit Secretary. NEW HAMPSHIRE. E. T. Baldwin 10 P. O. Block, Manchester President. E .M. Temple. .. Nashau Secretary. NEW YORK. Dr. 8. N. Penfield Chickering Hall, N. Y. City President. J. William Suffern 5 E. 14th St., N. Y. City. Secy.-Treas. OHIO. H. O. Farnum Springfield President, L. M. Frankenberg Springfield Cor. Secretary. PENNSYLYANIA. Charles Davis Carter Pittsburgh President. Ad. M. Foerster .Box 883 Pittsburgh Secy.-Treas. RHODE ISLAND. Robert Bonner 60 Williams St., Providence .President. Nathan B. Spague. Conrad Building, Providence Secretary. • TEXAS. J. Aleine Browne Chapel Hill President.. Wm. Besserer Austin Secy.-Treas. ONTARIO, CANADA. R. S. Ambrose Hamilton President- V. P. Hunt Toronto Secretary. PROGRRDINGS OF THE FOURTEENTH ANNUAL MEETING OF THE Music Teacters' National Association, The American Society for the Promotion of Musical Art, HELD AT Detroit, July l, 2, ? & 4, 1890 ADDRESS OF WELCOME. BY JAME8 B. ANGELL, L. L. D., OP ANN ARBOR. Mr, President, Ladies and Gentlemen of the National Music Teachers' Association: The committee of arrangements have done me the great honor to assign me the pleasant duty of speaking that word of welcome which at this time springs unbidden to the lips of the citizens of Detroit and of the State of Michigan. Welcome thrice welcome to this fair city then, which watches so proudly this beautiful gateway of the northern lakes; welcome to the hospitable homes and her intelligent and cultivated citi- zens, these homes that are flung wide open this week for your reception. Welcome to this great commonwealth that sits in queenly splendor here guarding these great lakes about her with a zone of beauty; decked as a bride with the ever unfading roses of June; rich with every grass and grain and fruit, with her purple soil and her genial climate can produce. Rich with the unmeasured wealth of mine with which God has endowed the earth beneath her feet to unknown depths. Mines of salt, mines of iron, mines of copper, mines of coal, rich with the commerce that crowns all these waters that wash her shores. Rich with the unsurpassed system of public education, which furnishes almost without money and without price to every child within her borders the advantages of public educa- tion from the primary school up through the High School, the Normal School, the Agricultural College, the University, with all its depart- ments. Rich therefore with the population which intelligence and virtue 8 MUSIC teachers' national association. and culture we may modestly say need not fear comparison with the population of any of the commonwealths of this great nation. Welcome, welcome again, to this happy prosperous State. Teachers, I am called to speak this word of greeting to you, I doubt not, because of my oflQcial connection with the public system of educa- tion. That system, I am happy to say, recognizes music as an essential factor of all true education. It provides not only for elementary instruc- tion, for music in the public schools as do our states generally, but it also endeavors in some degree to provide higher instruction in music, at least in the Normal school and in the State University, Advanced study in music holds as honorable a place in the curriculum of the University as does advanced study in Latin or Greek or Philosophy, and the direc- tion our present exacting and accomplished professor of music, which calls for as strenuous study on the part of the student as any other branch which is there taught. It is indeed, I think a matter of congratu- lation than truer ideas concerning musical culture now prevail than those which for many years have been cherished in this country. It is now beginning to be understood that the mere mechanical reproduction of the notes is no more an evidienc of musical culture than the parrot like recitation of the school boy of Hamlet's Soliloquy is a proof of true poetic feeling or of dramatic talent. One must gain the power of appre- hending, and to some extent at least of interpreting that true sympathy of great masters of song before one can claim to have gained that musical culture. That this idea has become so widely disseminated as it has is due in no small degree to the zeal and the energy of the members of this association who up and down this land have been preaching and illus- trating with so much power the true doctrines of musical art. I think we all have reason to be gratified with the progress which has been made in this country in musical culture during the past few years. We may claim without immodesty, I think, that we have not a few indeed who are honoring this association with their presence, who are capable of in- terpreting in the best manner the great classical masters; and some com- posers of whom we are justly proud, composers whose names are mentioned with honor and respect even in the great musical centers of Europe; so much labor and expense and time are required to produce a new oratorio, or a new opera, however deserving, that the musical com- poser is evidently at serious disadvantage in comparrison with the painter or the sculptor in bringing his work before the public. Not every com- poser can find as his patron a king, especially in this country where kings are not very abundant; but we may add, that the people who claim to be the king here, and who are the king, should do what is lacking to aid our composer in producing their works. I believe with a littte effort on the part of the public, much can be done, much more than has been done. And you will pardon me if I will mention as a pleasant illustration that lingers in my memory very freshly now that during the past week Buck's ^'Light of Asia" was produced in a manner which I think would not hare been displeasing to the eminent composer himself. And I am glad to see ADDRESS OF WELCOME— RESPONSE. 9 that in your program so much provision is made for presenting the works of the American composers. (Applause.) I cannot doubt that this great association, that its strength will become a mighty agency, not only in helping us rightly to understand and pos- sibly some of us to interpret the works of the great classic authors, but also inspiring and encouraging many of our countrymen some of whom we may justly hope will attain an eminence in the musical art as some of our countrymen have attained great eminence in the art of painting and of sculpture, But I may not delay the pleasure which we are all ex- pecting in listening to the address of the President. I close as I began by wishing you one and all a most hearty welcome to this city and this state and wish every success to this worthy association. PRESIDENT parson's RESPONSE. Ladies and Gentlemen: In having the pleasure of seeing the honored President of Michigan University upon the platform of our Association, and listening to his kind words of welcome, we are reminded of the fact that in our time, apart from holy religion, two great powers stand over against each other, contending for the supremacy in revealing to us the mysteries of being, namely, Art and Physical Science. From the point of view of art, we believe that, as the ancient astronomer took the visible appearance of things for the reality, so the materialistic scientist of our day practically assumes that the whole real world is projected into our brain by the senses of touch and sight. Opposed to this attitude stands music, which, in the wordsf of Wag- ner, faces physical science with the affirmation, "You are the offspring of the appearance of things, I am of the reality; you are from without, I am from within; I am the last light left burning within the soul of men to lead the way to finding God anew." This claim of music is not without recognition at the hands of the great leaders of modern scientific thought; it is only apt to be forgotten by their disciples who are preaching and teaching science in all lands. Thus Darwin confessed that, by neglecting art, his mind became at last a sort of machine for grinding general laws out of large collections of facts, and frankly stated that he held the loss of the aesthetic tastes to be not only a loss of happiness to him, but also injurious to the intellect; while Spencer says that the power and meaning of music are only com- prehensible on the supposition that the indefinite impressions of an unknown ideal life which music calls up are a prophecy, to the fulfill- ment of which music itself is partly instrumental. In our great institutions of learning, physical science and art dwell together under a common roof, but not always upon a common footing. Only too often the heavenly messenger is permitted merely to serve the sweets for dessert, while the chair of honor is accorded to the authority on bones, stones, and gases. 10 MUSIC teachers' national association. No one who realizes what physical science and art respectively stand for in our time, can be satisfied with the familiar spectacle of the usual one-sided and intimate relations between the representatives of our halls of learning and the men of physical science. And we musicians, espe- cially, feel that we have just cause for a sentiment of jealousy in the matter. Hence the Music Teachers' National Association will ever hold Michigan University in affectionate regard for the distinguished courtesy shown to us today by the honored head of that great seat of learning, in coming to extend to us the open hand of welcome. I have the honor to tender the thanks of the Association to President James B. Angell, of the University of Michigan, for his courteous Address of Welcome. THE PRESIDENT'S ADDRESS. BY ALBERT ROSS PARSONS, OF NEW YORK. Fellow Members of the National Music Teachers' Association: To-day this association enters upon the fourteenth year of its useful- ness. Looking backward through the past thirteen years, we may well wonder at the rapidity, the extent and the solidity of its growth. When in 1876, a few thinking teachers of music projected a meeting in a quiet little town in the neighboring state of Ohio — the Music Teachers' National Association you see is a part of the Ohio idea of which we used to hear so much a few years ago— doubtless they were sanguine as to the result, all men are sanguine when starting new movements, but they cannot possibly have realized that the spark fhey thus struck out would kindle a conflagration of such proportions as to sweep the country eaat and west like a prairie fire. They cannot have dreamed that in but a few years their modest initiative would lead up to a series of grand festival meet- ings such as those of New York under Penfield, Boston under Stanley, Indianapolis under Lavallee, Chicago under Leckner, Philadelphia under Heath, and the present one in Detroit Nor can they have imagined that starting as an association of music teachers specifically, the organization they were founding would rapidly assume the functions of an Ameri- can Society for the promotion of musical art in general; founding the first incorporated College of American Musicians; championing the interests of American composers and raising large sums of money annually to place American compositions squarely before the public eye and keep them there; undertaking royally to subsidize American music by means of an adequate Orchestral and Choral Concert Endowment Fund; and ap- pointing and maintaining standing committees for the development of a National Method of Musical Instruction, for the revision of musical terminology, and for the introduction of a higher style of music into ser- vices of the sanctuary. « Although the title of Music Teachers' National Association has long^ since become misleading and a misnomer by failing to indicate the scope and nature of the work the society is carrying on, we may nevertheless be pardoned for feeling a sentiment of attachment to the name under which so much valuable work has been projected and accomplished. If her espousal of weighty interests not strictly within the province of the teacher's vocation shall lead our association to change her name to one indicating the interests to which she is to be permanently wedded, let us trust that she will at all events retain her original name in parentheses as a sort of middle initial preserving the memory of her origin. 12 MUSIC teachers' national association. If we feel thus toward our association, ought we not to pay some special honor to the the men who founded it. Our annual reports now classify members as life, active and asso- ciate. I would suggest that it be made a permanent rule hereafter as long as the association shall last, and under whatsoever name, to head these several lists with one comprising the names of the men who origin- ated and signed the call for the first meeting, under the title of Founders of the Association. When we survey the past history of this association, all is not poetry nor is all sunshine that meets the eye. Times of refreshing we certainly have known or we should not be here to-day; but we also have known per- iods of parching thurst in dry lands where no water was, and to-day it is not so very long since this society was as poor in purse as was the con- tinental congress when the thirteen American colonies emerged victor- ious from the struggles of the war of Independence. But, we believe that like those colonies, this society has days of prosperity soon to fol- low, for we are both hopeful and resolved that when we shall again as- semble to hold our fifteenth meeting we will have $100,000 in our treasury safely invested for the purpose of carrying on the beneficient work of this association in all future time. To raise this fund, we propose if necessary, to visit every musical instrument maker and dealer, every music publisher and seller, every conservatory, and every institution of learing where music is taught, every teacher, every pupil and every lover of music in this broad land, and to wrestle manfully with them all until they arc brought to see their duty clearly in the matter, and are pledged to act up to it; in brief having undertaken this great work we propose to fight it out on these lines if it takes all of several summers with the in- tervening winters in the bargain. In confidence of our ability to achieve this work, we come to this festival with joyful hearts and minds brimful of enthusiasm. Well may we renew to-day our vows of loyalty to this association. Here in union we have found new strength; the attrition of discussion has worn down weak points and brought out strong ones; and the fame of our delibera- tions has spread so far that now American students of music have bejfun to retrace their steps homeward in search of teaching based on a free analysis and fresh ventilation of all matters of artistic theory and prac- tice which naturally result from the pi^lic interchange of professional ideas, but which are foreign alike to the traditions and the routine of the conventional conservatory abroad. In these preliminary droppings we may readily discern the precursors of a shower to follow. Turning now from these gratifying retrospecti and prospects, it is in order to speak of the work of the past year. For the greater part of the information falling under this head you are referred to the reports of the Secretary, Treasurer, and the various committees, which will come before you in due season. It gives me pleasure to state that the same harmony which was reported at Phila- delphia by our able and impartial presiding oflScer of last year, Past phesident's address. IS President Heath, lias continued during the year now endinj?, while our executive committee, led by their indefatigable and accomplished chair- man, Vice-President Hahn, whose strategic genius and fertility of re- sources are the admiration and wonder of all who have had an inside view of this year's work, have been so brilliantly successful both in rais- ing the wind financially, and in stirring up a continual breeze in the newspapers and professional journals, that our good ship, with all saila spread, has fairly leaped through the waves without feeling the least ripple of a cross current in any direction. This continued good fortune was promoted by the constitutional amendment adopted at Philadephia whereby the President was enabled to call to his aid a staff of vice-presidents composed as far as possible of members personally known either to himself or the members of the executive committee, and thus specially qualified to represent the aims and policy of his administration. In no case did the appointment of a new vice-president imply any criticism of either the methods or the re- sults of the previous officer's services. Wherever a previous vice-presi- dent was not asked to consent to continue in office, a letter of thanka for his services rendered was sent in the name of the association, and the loyal supprrt of the retiring officer solicited in behalf of his successor. The second sentence of Section 6, Article XII, of the constitution, which declares that failure to send a written report at the opening session of the annual meeting shall render a vice-president ineligible for reappoint- ment, has been construed by some to imply that only death or resigna- tion could honorably bring to close the term of office of a faithful vice- president. Hence some worthy officers who were not reappointed wrote letters in self-defence, concluding with the request to be permitted to re- sign. This misapprehension is unfortunate. Presidents of the associa- tion do not beg leave to resign to save a wound to their honor upon yielding their high office to their successors. Accordingly I would sug- gest that the committee on Revision of the Constitution be asked so to change the present provisions relating to the term of service of vice- presidents as to cause every such officer to feel that while appointment to that office is one of the highest honors connected with the work of the association, the appointment of some other member to take the same position at the expiration of a year's service implies no censure and in- volves no reflection upon the retiring officer On the other hand, it might be well to make a provision whereby for cause the president and executive committee might by unanimous vole remove a given vice- president and appoint his successor without awiting the expiration of his year of office, to save valuable time when the wheels were being blocked by inaction or incompetency. I would further recommend the publication in connection with our annual report, of an official blue-book, containing the constitution and by-laws and also the full text of all resolutions, reports and measures adopted by this association, as long as they continue in force. For want of such a compilation many ideas, the fruit of earnest 14 arusic teachers' national association. thought and discussion before this house, have been acted upon and then suffered to drift into oblivion as our annual reports have passed out of print, thus leaving the old straw to be thrashed over again whenever cir- cumstances shall call attention anew to the matters involved. Over against this state of things, an official blue-book showing at a glance what measures, resolutions, recommendations, etc., are iu force at a given time would include in itself a sort of National Method, and con- tinually suggest both new lines of action and also what improvements were needed wherever defects were disclosed by subsequentexp erience and reflection. I would also recommend that our secretary be instructed to send a copy of every past report still obtainable and one of every future meet- ing, to the chief public library in the cities of Boston, New York, Wash- ington, Cincinnati, Chicago, St. Louis and San Francisco, so that in. those cities at least persons interested may always be able to consult our records. At our meeting a year ago, in Philadelphia, it was determined to have a committee appointed to develop a national method of musical instruction for voice, music in the public schools, harmony, piano-forte and organ. Certain questions asked during the past year render it desira- ble to say a few words in further explanation of the basis and scope of this undertaking. On every hand one hears from young teachers and earnest students the question: In the immense quantity of music of all periods and styles which we now have before us, what compositions are desirable that a thorough students should master in the effort to attain artistic proficiency? As Sir John Lubbock found it worth while to consider how to reduce the literature with which every educated person should be familiar to a selection of the hundred best books, so it will be a boon to the rising generation of teachers and students of music to possess graded lists of the most important compositions, etudes, theoretical works, etc. When these lists are finally adopted as representing the best judgment of ;our com. mittees with the endorsement of the Association, they are to be the com- mon property of the profession at large. The preparation of the anno- tated editions, which will be most desirable, must then be left to private enterprise, and all such special editions will, of course, then, as now, be the property of their respective editors and publishers. This will leave the field open to competition, alike as to contents, quality and price. It proved very difficult to organize the various sections of the commit- tee in accordance with the wishes of the Association. This was partly because many of the men particularly desired were among the best- known, and, consequently, the busiest men in the profession. Gradu- ally, however, nearly all have responded to the wish of the Association, and a glance at the names of those now at work on this committee suf- fices to show that the work is in the hands of representative men. The Association will await with particular interest the report of the president's address. 15 Committee on the Endowment Fund as to the steps they have taken and growth of the fund to the present time. The question has been asked, What particular interest have the South and West, especially the interior regions, in the raising of this* fund, and why should peoplefin those localities contribute to it in prefer- ence to keeping their money for the promotion of music nearer home ? The answer will be easy, if it should please the Association to pledge itself to hold, as soon as the fund shall be raised, a certain proportion of its meetings during the Christmas holidays in Southern States, and others as usual in the summer season, in Western localities where a large popu- lation is to be found almost wholly without any incentives to an active interest in seeking to reach a high plane of musical culture. With Buch an understanding, it ought to be easy*to secure large contributions from those regions, since no use to which such sums could be put at home can promise anything comparable to the art-awakening sure to fol- low a festival meeting of this Association, wherever it may be held out- side of the musical capitals of the country. A most serious obstacle to securing contributions from any lovers of music lies in the unfortunate fail ur of the name of our Association to command the interest of many who are willing to contribute to the cause of music, but who will not do anything for a teachers' association. This difficulty was foreseen some years ago, and at our New York meeting the name of the association was changed by an almost unani- mous vote to that of the American Society for the Promotion of Musical Art. According to parliamentary law, a motion to reconsider is out of order, save when made by a member who voted in the affirmative. On this occasion, however, when the matter had been lawfully decided, and barely a quorum remained (the business of the meeting being practically finished), an esteemed musician, who had misunderstood both the word- ing and the meaning of the newly-adopted title, made some hasty re- marks about not excluding classic and foreign music from our programs and teaching, and moved that the action just taken be reversed. The supporters of the measure being no longer present to point out the mem- ber's error, the valid action of the majority w^as improperly reversed. As the said musician has, for many years past, dropped his membership, and steadily declined to take any f urthei part in its work, doubtless he would now find the rose as sweet under any other name. Meanwhile, our Association goes under her maiden name, without ever having been law- fully divorced from the one to which, by reason of her mission, she is en- titled. And that unparliamentary reversal of an important point gained, is going to hamper our work still more in the future. Many a public-spir- ited American will give liberally to a society for the spread of the gospel who would not subscribe one cent to a preachers' national association. In brief, while the public cares for principles, not men in the titles of societies, our present title places a vocation rather than our art in the foreground. And it does this in defiance of the warning that he that exalteth himself shall be abased. L'et us, then, as speedily as possible. 16 MUSIC teachers' national association. put ourselves out of sight and promotion of musical art in the fore- ground, and from that time on we shall have not onlj^ the sympathy of all men who are interested in the progress of civilization in America, but we shall have their dollars as well. The public will no longer stand idly by while the Association seeks to pay its own expenses ; but, instead, will turn squarely around and say, " Show us that you know how to promote the cause of music for us and our children, and we will provide the necessary means." That is what is in a name! Clearly, there will be far less appearance of self-seeking in asking contributions to our endow* ment fund if w*e speak as representing a legally incorporated American Society for the Promotion of Musical Art, than if we ask simply as mem- bers of a teachers' association. Every consideration whic'h bears on the raising of that fund is of supreme consequence now, for the fund must be raised before we hold another meeting, or it will be in danger of passing into the limbo of the Grant Monument in New York City. This leads naturally to the question: When ought our next meeting to be held? The relations of our State and National Associations will be dealt with thoroughly in the course of the present meeting. I shall only refer to the obvious fact that at present the interests of the two sorts of asso- ciations seriously conflict. Hence the idea of having them meet bien- nially in alternation has for some time been discussed with favor among our members. This time, however, in view of the importance of our fund, and the necessity of bending all our energies to its completion before we raise and spend much money for any other purpose, I would ask you to consider something exceptional. In the year 1492 Columbus discovered some of the outlying regions of the American continent. It was proposed to celebrate the four hun- dredth anniversary of that event by a world's fair. Had that fair been held anywhere near the part of America really discovered by Columbus it would have come off in 1892. But the fair is not going to be held on the Atlantic coast this time. Chicago is to celebrate the four hundretb, and San Francisco the five hundredth anniversary; so the Columbus celebration will not be due on the Atlantic coast before the twenty-first century. But that is not all. The fair is not going to be held in 1892 this time. Necessity is the mother of invention, and Chicago has determined that as she is to have the fair, it shall not be held before the four hun- dredth anniversary of the year in which Columbus would probably have discovered the site of the future Chicago had he extended his voyage sufficiently far ; and it has been determined that the very earliest date of the discovery of that enterprising part of America would have been 1493 ; so in 1893 the Chicago World's Fair is to be held. We all wish to attend in a body, as the representative Association of American Musicians, the four hundred and first anniversary of the dis- covery of America. Hence I beg to propose that, in case our Orchestral president's address. 17 and Choral Concert Endowment Fund should not be completed, and the Association made forever financially independent, by the year 1892, our Executive Committee shall be authorized to postpone our next meeting to the year 1893, at Chicago. Many State Associations have suspended their meetings for this year in order not to conflict with our national meeting. Let them then meet two years in succession, and do all they can at home to help the parent society in its work of raising the $100,000 which we want to have in our treasury when we go to Chicago in 1893, Of course, if w« can raise the fund before 1892, it would do no harm both to meet in that year and to take part in the Fair in 1893. This matter is one which calls for most careful consideration. In any case, whether we meet in both 1892 and 1893, or find it expe- dient to wait until 1893, I would propose that the President of our Asso- ciation be authorized to address to a number of prominent citizens of Chicago, of known public spirit, and liberality in the support of art, a letter something as follows: "Dear Sir: The Music Teachers' National Association, the sole incorporated American Society for the Promotion of Musical Art, pro- poses to hold its Fifteenth Grand Festival Meeting at Chicago, Illinois, during the time of the World's Fair in 1893. The Festival Concerts of the Association will be devoted on that occasion, as for several years past, to the adequate production of American musical compositions cf all types, from the art- song to the grand orchestral symphony. "On such a great historic occasion as the coming World's Fair, the works of American composers of music should obviously be awarded their rightful place among the products of American brains, talent, ingenuity and industry. Where the American painter am inventor are accorded official recognition, the American musician should not be ignored. "With a view to securing such just and merited recognition on the occasion in question, it is proposed, at the coming Fourteenth Annual Meeting of the said Music Teachers' National Association, to appoint a select committee of gentlemen whose recognized standing, public spirit, and interest in musical art, will at once command the respectful atten- tion of the Commissioners of the Fair, to present before said Commis- sioners the claims of the Music Teachers' National Association to such official recognition, and to secure for their Grand Festival Concerts in 1893 a place on the Official Program of the Fair. "I have tae honor to ask if you will kindly consent to serve on a committee thus constituted and organized for the purpose herein specified." The list of persons thus invited should be made up by the President and the Executive and Program committees, with the advice of members of the Association permanently residing in Chicago. If we decide to hold our meetings biennially hereafter, our next President, Secretary, Treasurer, Executive and Program committees, and 18 MUSIC teachers' national association. Committee on American Compositions will be elected to serve for two years. In that case, were no meeting to be held in 1892, the officers whose terms would then expire would, according to law, hold over until the next meeting, when their successors would be elected. There remain but one or two more matters of business to present for your consideration. Paragraph C, Section 3, of Article IX. of the Constitution, enacts that " in no case shall the Program committee allow a composition to be performed that has not successfully passed the examination of the Board of Examiners." I am desired by trustworthy members of our committees, who have had ample opportunity to learn the practical working of the section in question, to state that it has repeatedly threat- ened to deprive the Association of the chance of hearing anything from our best American composers, for the simple reason that artists whose reputations are made will not submit their works to a dark lantern exam- ination at the hands of any committee this or any other Association may appoint. Consequently, in order that this Association should not come to represent simply American composers as yet unrecognized by the world, our committee have had, whenever the inferior quality of works anonymously submitted has left vacant places on our programs, to invite our standard composers to contribute something to fill the vacancies. The Association should be acquainted with this condition of things in order that it may docide whether to enforce a stricter observance of the letter of the law as it exists, in which case it can only be said of future programs. What a falling off was there, my countrymen! or else to give the committee more lawful discretionary powers. I would accordingly suggest that the. provision in question be altered to read: "In no case shall the Program committee allow a composition to be performed which has been rejected by the Board of Examiners." With the article thus amended, it will be necessary only to continue to put fair-minded men upon the Program committee, and then give them liberty to make up the best program that the discoveries of the Examining Board for American Compositions and the portfolios of American composers of reputation can provide. Furthermore, the experience of our Executive Committee points to the wisdom either of Abolishing the associate membership altogether, and substituting for it a patrons' list, or else amending the first clause of Section 3, paragraph D, of Article IV., the Constitution, to read : "Associate membership can be acquired for the current year by the payment of not less than $5.00 nor more than $10.00, according to the determination of the Executive Committee for said year, which fee shall entitle such member to all privileges," etc., as at present. By thus making the fee for active membership less than that for asso- ciate membership, a premium is offered for the acquirement of the musical knowledge requisite for admission to active membership in the Association ; whereas, at Philadelphia, last year, the existing provision said, in effect: "If you are a professional musician, it will cost you $5.00 president's address. 19 to attend the meeting. If, however, you are willing to pocket your knowledge and forfeit your vote, you may come in for $2.00." The Association should also consider the desirability of creating the offices of Librarian, and also of Commissioner of Transportation, the latter oflScer to receive a fair compensation for the labor of affecting ar- rangements by which thousands of dollars will be saved to our members in the form of traveling expense. Again, the work of the Church Music Commission will be greatly promoted if the appointment of its members be placed in the hands of the President of the Association, according to the rule which prevails in the appointment of all other standing committees in the Association. Finally, I would suggest that it be made a permanent rule that the official stenographer of the meeting be instructed to make, by manifold- ing process, two typewritten copies of his report of the proceedings and that he transmit one of these copies to the President at the same time the other is sent to the Secretary; stipulating, moreover, that both copies shall be in the hands of the respective officers within two weeks after the close of the meeting to which the report refers. For the want of a duplicate copy of the report at an early date, an incoming Presi- dent may be seriously inconvenienced and greatly perplexed. In conclusion, let me call your attention to the new badge of the life members of this Association. It is an exact reproduction of the classic Greek design of the lyre of Orpheus, as fashioned by Mercury from the carapace and sinews of the tortoise. You will remember that Mercury was the god of Intelligence, and that, originally, it was only as such that he was fabled to be a thief, since intelligence instinctively appropriates everything of value within its reach. It required intelligence to see the possibility of an instrument of music in the shell and sinews of a tortoise, just as it has always re- quired intelligence to bring out the music after an instrument has been devised. Every time this badge meets the eye our thoughts are directed to Apollo, who bestowed upon his nephew, Orpheus, the lyre fashioned by Mercury. And this leads to a very ancient and profoundly true con- ception of the nature and function of our glorious art. Apollo was the sun-god. Now, the sun is the source of all atmos- pheric vibrations throughout the solar system. Music comes to us by means of atmospheric vibration, and, hence, Apollo, the sun-god, was most fittingly recognized as the god of music. " Wouldst thou under- stand the universe T' said the ancients, "then look into thine own soul ; wouldst thou understand thy soul ? then hearken to music." That was the ancient way of expressing the great truth of which we are reminded by this badge. A modern way of putting the same truth is found in a late sermon by the Rev. Dr. Heber Newton, who said : "The least material of the arts is music. It needs no canvas and no marble with which to embody its visions. It seizes the passing breath and embodies its life therein." "A wisp of thin air is enough for it to charge with the highest 20 MUSIC TEACHEES' NATIONAL ASSOCIATION. thoughts and the deepest feeling, to make luminous the most glorious visions. With our eyes shut, and the whole earthly world withdrawm,. a tone seizes and leads us out from earth into heaven, even away from all things material and selfish and sensual, into the deep, calm-currents of the life eternal." Fellow-members, I have the honor to declare the Fourteenth Annual Meeting of this Association open and ready for business. THE SECRETARY'S REPORT. BY H, S. PERKINS, OF CHICAGO. Members of the Music Teachers' National Association — Ladies and Oentlemen: The poet who wrote, "The wheels of time roll swiftly round," must have been a busy man. It seems but a day (without using a very extravagant figure of speech) since our meeting in Philadelphia one year ago. While it is not incumbent upon m« to speak in detail of the last meeting, because the proceedings are in print and accessible to all, yet I may retrospect briefly without trespassing upon the time, or reiterating that with which you are already familiar. You are aware that it was not as much of a financial success as might have been desired. The success or failure of this Association must be based very largely upon its business management and financial condition. Notwithstanding the financial weakness, and the smaller attendance than at the two or three previous meetings, it was a very pleasant gath- ering, socially, and much good was accomplished, notably in the organ- ization of a State Music Teachers' Association for Pennsylvania. I believe that President Wolsiefer (a most eflScient commanding officer, and a hard-working, self-sacrificing compatriot), with his drilled adju- tants, will make it a success. It was the first time in the history of this Association that a very large proportion of the music teachers of the city and surrounding coun- try recorded themselves as "associates," and paid the small fee which the constitution required of that class of citizens. Our experience dem- onstrates that we must hold our meetings in the Western cities, where blood and business are more active, to meet with the most encouraging success. This I do not consider a disparagement, nor the statement a criti- cism, but facts are facts, and cannot be ignored. Youth is radical and active, while old age is conservative and feeble, sometimes in proportion to its corpulency. But as the tide ebbs and flows, as the shuttle moves from side to side to produce the web or fabric, and as circulation is essential to life, health and growth, so may it be wise to hold our meet- ings in the East, West, North and South until the musical millennium has dawned and Chicago (the natural center of the country) becomes its permanent home. 22 MUSIC teachers' national association. I had hoped to be able to reduce the labor of the Secretary's office by systemizing the method of book keeping and correspondence but instead of accomplishing this it appears to be more demanding and exacting each succeeding year. The first extra labor required of me the past year was the raising of funds with which to pay the cost of issuing the report. The treasury was depleted, but the book must be issued or disgrace would stare us in the face. While the constitution requires the Secretary to publish the proceedings, it is silent as to providing the necessary means. If the Secretary contracts with the printer he is personally responsible. The treasury was as dry and forsaken as a last year's bird's-nest. But as I am not in the habit of "putting my hand to the plow and looking back," nor of allowing the Association to suffer when in my hands, I laid my personal business and interests aside and raised the money from adver- tisements to pay the entire cost of publishing the edition, with a credit balance of $6.46. If this special labor were to be required of the Sec- retary each year, I should have to decline the office and honors if offered to me, as it has been for three consecutive years, with similar treasury conditions, excepting 1888, when our meeting was held in Chicago. I mailed a copy of the official report to all of the music journals of this country, and to the leading journals of England, Germany, France and Austria. Additional work has been required the past year in preparing sta- tionery, etc., for Vice-Presidents, and shipping the same, which was done by President Heath the year before; also the issuing of documents required by special committees for the benefit of the Association. Dur- ing the year I have sent out two sets of general circulars, had 20,000 of the advance program printed, mailed or expressed packages to all of the Yice-Presidents and members of committees, and addressed to 12,000 persons, followed by 2,000 of the Railroad circular, etc., etc. Transportation has been one of the most difficult matters to cope with. Every possible effort was made to secure reduced rates from all of the traffic passenger associations, but the success was limited to the Central and the Southern— action by the latter being taken too late to be of service to our members in those States south of the Ohio river- While we may regret our failures, or only partial successes, in the past,. I cannot but be pleased with the progress which has been made. This gathering attests that the Music Teachers' Katioiaal Association still lives, and I honestly believe that our coming to Detroit — this go-ahead,, beautiful metropolis of Michigan — will prove an act of wisdom and providential direction. The Executive Committee, with Chairman Hahn at the helm, has done a great and noble work for the Association, and Tichly merits our heartiest thanks. I have a few suggestions to offer without argument : 1. That the " associate" memberships be discontinued. 2. That the price of season tickets to the public at our annual meet- secretary's report. 23 ings, and admissions to special concerts, or sessions, be left with the Executive Committee. 3. That the members of the Association adopt the Annual Report as a medium for advertising, and insert at least a professional card in each issue, and pay $5 for the same, to assist in paying the expense of pub- lishing the book. 4. That Article X., Section 1 of the Constitution, be so amended as to define the limits of the Executive Committee in regard to creating debts or financial obligations for which ample provision has not been made. 5. That a Railroad Committee be chosen in each Traffic Association, who shall assist the Secretary in securing favorable transportation to our annual meetings. Since the last meeting our membership has been depleted by the death of Dr. Louis Maas, of Boston, September 18, 1889; Miss Caroline R, Schneider, of Chicago, January 19, 1890; Dr. Carl Merz, of Oxford, Ohio, January 80, 1890, and C- M. Loomis, of New Haven, Conn., March 9, 1890. In closing I desire to say that there has been the most perfect har- mony, professional courtesy and hearty co-operation existing between the Secretary and the officers and committees during the past year, and this very largely ccmpensates' for the arduous duties which I have endeavored to perform. HISTORY OF PIANO-FORTE TEACHING. PAST, PRESENT AND PPtOBABLE FUTURE. BY JAMES HAMILTON HOWE, GREENCASTLE, IND. Before entering upon the subject, I wish to make an apology for calling this an essay, for I consider it rather a rambling talk, systema- tized as much as time would permit. There is really so much to say on this topic in the short time given me, that one can only hit parts of the subjects and throw out hints here and there. Instead of making them definite divisions, I have at times interlocked them as an easier if not a clearer mode of expression. There are so many departments and lines that one hardly knows which to take first. A few words as to the ancient modes of piano-forte teaching and piano-forte technic. PAST. Of course it is useles for me to give you a geneaological table of the precursors of the piano-forte, but I will mention the Dulcimer, Psalterer; the Egyptian, Grecian and Roman Harps and Lyres, which were struck with a quill or plectrum. It is rather astonishing how slowly the Piano- forte made its way against the Clavichord and the Harpsichord ; but pro- gress is oft times hindered by the stubbornness of mind. The composi- tions of Bach (that representative of polyphonic technic), Hadyn and Mozart, had much to do in retarding the progress of the introduction of the Piano-forte, still they also had great influence in creating a desire for some broader medium for full expression of creations. Bach was an in- ventor as well as a teacher. He also engraved upon copper and manu- factured instruments. He labored with restless eagerness and energy at his own development'of technic ^d theory, and also inculcated the same ideas in his own immediate family. The art of playing had attained considerable proficiency at the time of the introduction of the piano- forte. It was left to Emanuel Bach to take the first step toward the proper treatment of the instrument, and how faithfully was his work performed. In 1759 he published his essay on the ''true manner of playing the Piano- forte," which summarizes all the experiments and experiences made up to that time, and starting out from them effects the transition to modern piano-forte playing. His maxims were closely followed by Haydn and Mozart. Most of you are undoubtedly familiar with Mozart's remarks upon piano-forte playing. A quick, steady hand with its natural light- ness, smoothness and gliding rapidity so well developed that passages HISTORY OP PIANO-FORTE TEACHING. 25 should flow like oil. In expressing symbolically the requisite needs of a good performer, he pointed to his head, as the seat of understanding, his heart, as symbolical of sympathy, and to the tips of the fingers the rep- resentative of technical skill. With new improvements in the manufact- ure of instruments came new possibilities of execution and expression. Clementi, of whom Beethoven had a most exalted opinion, was the real father of the piano-forte and piano-forte virtuosos. This was almost his sole medium of expression. That he was a good teacher, let such per- formers as the following prove : Cramer, who combined the best quali- ties of the Mozart and Clementi school, and whose touch Beethoven pre- ferred to all others ; Field, the inventor of the nocturne ; Dussek ; Kalk- brenner and Mayer. Clementi began by practicing Scarlatti's Sonatas, and lived to become acquainted with the finest piano-forte works of all time. The great teachers of the Clavichord and Harpsichord were Scar- latti, Couporin and Bach. They treated their instruments in composi- tion, at least, more in the organ style than that of the piano-forte. Among some of the great teachers of the instrument (piano-forte) : Emanuel Bach, the grandfather of the piano-forte; Clementi, the father; Czerny; Hummel, the exponent of the knuckle technic, and Berger. Henseit, Dreyschock, Dobler, Mayer and Thalberg. especially by their renditions ; Beethoven, Moscheles, Mendelssohn and Chopin by their compositions ; Shumann, by his compositions, excellent essays, reviews and terse sayings. Liszt, Kullak, Tausig and Bulow, in various directions. Deppe should come in for a share of fame in this line, and Wieck should not be forgotten. Rubinstein and D'Albert aided and are aiding the cause of art by their renditions and compositions. Cramer; Field, Ber- ger (the teacher of Mendelssohn), and Kalkbrenner, were excellent per- formers and teachers. Weber was a great performer, and influenced Mendelssohn, Schumann, Chopin, Liszt. Henseit and Heller. It has been said that Liszt's renditions, although containing more of the real fire, were not so polished as those of his more calm and dignified rival — Thalberg, who was always careful, to a most extraordinary degree, about the fingering of a composition. Prof. Riehter said : "Next to the more powerful development of the brain, it is almost exclusively the structure and skill of the fingers and hands which raises man above the brute, and has made him ruler of the earth." The "wise in their own conceit," and also the foolish who have but little oil in their lamps, may cry down technique and the requisite appli- ances for obtaining the same; yet in words of the great astronomer, "The world moves," and the unwieldy digit must be curved and drawn on the modern rack called "Techninon," and in some cases quartered, a liga- ment cut here and there, muscles that have been lying dormant for more than six thousand years, to be rejuvenated and taught to run alone. Ward Jackson has written a book entitled " Fingers and Wrist Gymnast- ics," which is a valuable aid to the development of the hand, wrist and fingers. It is a most estimable work and contains very much in small 26 MUSIC teachers' national association. space, besides being a good guide for the care and training of the fingers. However, one must not endeavor to shine by technique alone; neither i» it good taste to give the impression that this is the strongest point in our musical make-up. We should rather try to give a round musical to-ne, and render it clearly as near the composer's ideal as possible. Couppey said: "Everything lies in knowing how to study." As an aid read Parent's "The Study of the Piano-forte." Theory and Practice should go hand in hand, so that we shall not have so many pianists who are not musicians, and vice versa. Cummings, in an essay on fingering, gives a condensed history of past and present fingering, taking excerpts from various authorities, showing how the fingering known as the "German Fingering" is in reality of English oiigin, and that the English thumb mark (x) was brought into England by Falkner, Clementi and Dussek. Although we are several degrees removed from the antique method of executing the scale with two or three fingers, we must not flatter ourselves that we have reached perfection. In 1571 our fore- fathers did not use the thumb of the right hand, and the little finger rarely. Mattheson wrote in 1731: "As many as there are players almost so many kinds of fingering you will find. One runs with four fingers, another with five, some almost as fast with only two: It is of no conse- quence, so long as one adopts a certain rule and sticks to it." The teacher of ancient times in one way taught better than we do, in requir- ing the pupil to write and copy music. The study of harmony is filling this gap for the more advanced pupils. Many of those teachers neg lected the technical part of music. From a pedagogical standpoint, Chopin as a teacher was nil, according to Mecks. Liszt's lessons were to some a misnomer; especially to those who were not advanced far enough to appreciate his idealized criticisms. Of the benefits derived from the instructions of Franz Liszt there seems to be a difference of opinion. Some considered his class lessons a farce; but when we have such an array of artists that have been only too eager to gain an audi- ence to his classes, and hear the glowing accounts of Miss Fay, Miss Stevens, Miss Aus Der Ohe, Messrs. Sherwood, Lachmund, D' Albert, and others, it seems that there coald be no difficulty in drawing one's conclusions. Surely Liszt's innovations are manifold, his transcriptions marvelous, and his treatment consistent with the possibilities of the modern grand piano-forte. Let us hasten on to the present. For future developments of musical understanding and the future character of musical education, we should continue the advance of Mr. Sternberg and Mr. Parsons, who gave us admirable essays during the meeting of this Association in Philadelphia last year. To place the matter strongly, no teacher should teach a class of pupils unless the pupils agree to meet at least once a week to listen to an aesthetic lecture on the understanding of music. This method would also serve to raise their enthusiasm for a more united effort, and prevent the bad practice ^ HISTORY OF PIANO-FORTE TEACHING. 37 on the part of the pupils, of continually changing from one teacher to another. This, although always to the'detriment of the student, is not a good custom to encourage among young pupils. Unity of effort creates enthusiasm for a higher expression of nobility of thought and feeling. There are those who have that about them which inspires certain pupils with a desire for hard study. In that case half, yes, three-quarters of the battle with the pupil is gained. This influence is of inestimable value to the pupil and can in a measure be cultivated, A Conservatory or a Col- lege of Music has fine advantages for a liberal culture in music. The associating of young people together, all pursuing the study of the same art in its various branches, is of great value to an ardent and aspiring- devotee. Slowly the prejudice of the loose wrist is overcome. Moschele» played with a stiff wrist, but think you not that he could have rendered his repertoire with less labor with loose wrist? Students who are not playing with the loose wrist and forearm are not taking advantage of advanced science. How indefatigably have Mr. Sherwood and others worked at the wrists and arms of the struggling public. Wieck started the ball to rolling, and Mr. Mason, in continuance, is working wonders with his two-finger exercises. At present there seems to be a better co-operation on the part of the teachers. Formerly a pedagogue sat on his method as if it was a golden secret. Oft times this was for the pro- fession. In the future undoubtedly the instruction of the technical por- tion of our pianistic profession will become so clearly presented that pupils will not need to have so much attention given to finger training. Thus more attention can be devoted to artistic polish, expression and conception. When we reach this height there will be a diminished sale of the "Maiden's Prayer " and a more thorough dissemination of the classics. For a graded list of studies see various musical journals and special text books. A good element is pushing its way among us. Our pedagogical, uncommon sense is not shocked, as in former times, Dy the introduction of mechanical helps to the development of technic. The ill success of Schumann's attempt has been a great bugbear for several decades. I remember how many teachers used to preach against the inventions to "mortify the flesh" — that were here and there creeping in. Discrimination is always to be en- couraged. I agree with Mr. Sternberg in his argument put forth last year in Philadelphia. I refer you to our last annual for a perusal of the essay. Listening to recitals by such artists as we have in America will teach discrimination. It costs time and money to secure these benefits, but, my fellow-teachers, is it not money well-spent? Will it not broaden the minds of our pupils, so that the burden will not be so heavy for us to carry? I have been engaged, as many of you are aware, in this work among our pupils at the De Pauw University, with marked success and mutual benefit. We give from eight to ten Artists' Concerts and Recitals per year, and I assure you that I would not be without them ; and do thereby enthusiastically urge my friends to go and do likewise. lam sure 28 MUSIC teachers' national association. that we are all of us believers in ensemble works. It is to be boped that teacbers will give special attention to tbis department witb tbeir students, as a strong educational factor. Caution your pupils, yes yourselves as well, not to overpower the string parts of the trio and quartette accoinpa- niment. We should remember that a single Violin, Viola or Violoncello are no longer rivals of the piano-forte, as they were in the days of Mo- zart and Beethoven. At the present time whole orchestras have to bear down upon it ; and, as in the case of the Rubinstein Concerto, played by Miss Aus Der Ohe in Boston, last winter, this mighty horde is beaten in the contest. So, in playing with strings, keep in the mind that you are not playing upon a clavichord nor an ancient Vienna piano-forte, but rather upon a modern heavy action, thick, overstrung wire of great length and vibrating power ; and repress a little of your muscular en- thusiasm. A prominent pianist, considered one of the best in Boston, to whom I listened last winter, spoiled his performance by completely cov- ering the poor Violin and Violoncello with inordinate percussion. A de- lightful contrast was a rendition by Arthur Foote, who, for many years, has been the exponent of a large share of the trio representations at the Hub." Let us now endeavor to look into the future and make slight attempts at prophesying. PROBABLE FUTURE. In this age of invention and rapid change, what the coming piano- forte will be, or what will be the future of methods of piano-forte teaching, who can foretell ? The conservative reason that we have nearly reached perfection ; while the liberals look for a piano-forte that will have a con- tinuous tone, and the more sanguine seek for a duplex or triplex key- board, or even an enormous instrument greatly in advance of the piano- forte. What with Worrell's " Harmonic Damper," Paul Von Janko's new patent keyboard, and Keely's " Sympathetic Transmitter," we may be upon the verge of an era of which we hardly dream. I thank the powers that be that the popular demand is becoming more and more eager for the intelligent teacher and performer. Look out for the pedal, my friends. More than four-fifths of the pianistic performances are in- jured, if not absoluty ruined, by a misuse of the pedal. We now come to a very important subject, and that of very extensive reading on the part of our teachers and pupils. It seems to me that the development in this direction will have a great bearing upon our future. The music pro- fession generally must read more extensively. Christiani, in his fine work, " Principles of Expression," tays, "Intelligence, not feeling, is the whole basis of expression." Hence read, and read intelligently. Do not stop with musical literature, read aesthetics, history and romance. Sub- scribe for standard musical journals. As an aid to your students, buy a few books and circulate them among your pupils, and thus form a sort of circulating library. Let us have fewer specimens of the genus homo, with one idea, who pound the piano-forte from " morn till dewy eve," and who never look at a musical review, and much less often a treatise HISTORY OP PIANO -FORTE TEACHING. 39 or theoretical work. It is a wonder that more of them do not become lunatics. Taylor says that, ' ' the perpetuity of a single emotion is insan- ity." Christiani adds in continuation, '* if Taylor is correct, purely emo- tional music, if such were possible, would then be the work of a mad- man, and, of course, of no value. Hence, purely emotional music is not to be thought of." We must have talent, emotion, intelligence and tech- nique. As a valuable aid to teaching, as well as in your own practice, I would advise the use of a Practice Clavier* I will say here that I was not hired to repeat this. It will save you a large amount of harrowing explanations, and the pupil will learn to acquire a legato touch in one- quarter of the time usually devoted to such work, and in the majority of cases never attained. When you give a recital with your students, have a " Clavier" placed in the ante-room, so that the pupil may practice for two or three minutes before rendering her part of the program. Five or ten minutes of technical practice will create nervous energy and freedom of motion in hand and fingers to a wonderful degree. Many before me appreciate how unsatisfactory it is to play only one selection at a con- cert, when it takes them from twenty to thirty minutes to become thor- oughly musically awake. A Technicon is useful in ways well-known to the majority of the present audience. Mr. Tapper is writing a work en- titled, "Chats with Music Students or Talks about Music and Music Life," which you will certainly appreciate and desire to add to your libraries. It is very gratifying to note the advance in the social standing of our pro- fession. The National College of Musicians will have a tendency to ren- der still further aid in this direction. In the same manner the College of Physicians has advanced in the same measure the social standing of that profession. In closing, let me urge upon the profession the necessity, by precept and example, of leading our students to take a broader view of art; to read history, biography, mental and moral science and philos- ophy. Interest your public library officials to purchase books relating to music, then suggest to your students as they respectively need. As before, I still repeat, do not limit them to musical works. Have them not only learn everything of something, but also something of nearly everything. Do not allow dexterity to predominate over intellectuality. Musical litera- ture is being rapidly circulated; and, with care and discretion, one can easily arrange a moderate-sized library, when we can create a genuine thirst for these elements which will elevate and develop the musical pub- lic at large. Then will the occupation of "Mr. Tinkle Sweet" and "Miss Jolly Jingle " be gone, an age of their artistic appreciation be ushered in, and the musical millennium near at hand. A FEW THOUGHTS ON PIANO TEACHING AND PIANO MUSIC, DERIVED P^ROM PER- SONAL EXPERIENCE. BY CHAS. H. JARVIS, PHILADELPHIA, PENN. In treating of the changes which have taken place in the methods of imparting instruction in music, it is necessary to notice similar results in every field of activity. We live amidst a very complex civilization ; everything is investigated to the minutest degree ; every branch of work is divided up into specialties, so much so, indeed, that oftentimes it is diflQcult to arrive at a very clear understanding of the results attained. Music teaching in the last thirt}'' or forty years has, in the direction of class instruction, developed into very large proportions. Every city and town in the country of from fifteen to twenty thousand inhabitants, and upwards, has its musical conservatory, and in the large cities they are increasing every year. Some of these institutions are in a very flour- ishing condition, and do a great deal towards cultivating a taste for music, whilst a large number of them, on the contrary, do a great deal of harm, owing to the bad quality of the instruction imparted. We are in this country unfortunately situated with regard to stand- ards of authority. The Music Teachers' National Association is doing a grand work in this direction, in bringing together the best talent of the land, and exchanging views by means of Essays and Discussions on all points relating to the proper methods of imparting instruction, and gradually establishing a high standard of excellence. The Piano-forte occupies the time and attention of at least three- fourths of the music pupils of the land. It is a much-abused instru- ment. It requires to be studied long and laboriously to give out its hid- den beauties. Piano-playing is not a hot-house growth; great attention at the outset should be given to a proper position of the hands, and to a very carefully graded system of study, which will cultivate especially the fingers; to avoid all unnecessary forcing of the strength, thereby pro- ducing a harshness in the 'production of tone; in fine, to arrive at a truly musical performance (which comprehends all other requisites), it is indispensible that the pupil should receive the best instruction, should have the best examples of Piano-playing, and adhere always to well- established principles of art. At the outset of my career as a teacher, dating from 1854, most of the Piano-teaching was carried on through the channels of private tuition, there being very few music schools in the country, and not many more in Europe. The selections for the Piano were of a comparatively THOUGHTS ON PIANO TEACHING. 31 limited character, consisting largely of weak arrangements of operatic themes, a few stray selections from Chopin and Mendelssohn, a few of Beethoven's Sonatas, etc., etc. I remember the first piece of Chopin I ever saw was an edition of Op. 29, published in Philadelphia by A. Fiot; also, the Lieder ohne Worte, of Mendelssohn, published by Ditson & Co. I heard for the first time Mendelssohn's Concerto in G Minor; his ' Caprice, Op. 22, in B Minor, and Bermett's beautiful Bondopiaenole, played by the late Robert Heller, the famous magician, and who at that time was a fine pianist, a graduate of the London Royal Academy. He had a beautiful touch, and a facile, brilliant execution. This was in 1853-1854. Shortly before that time the German Orchestra, with Alfred Jaell, pianist, gave concerts in Philadelphia. Jaell's playing was very beautiful, especially of the compositions of Thalberg, only second to the :great master himself. Then, in 1857, Thalberg came and electrified us all by his wonderful rendering of his own compositions. I remember how great the impulse was he gave to my own study of the Piano. The influence he exerted on Piano-playing cannot be overestimated. It might be styled the climax of the Legato school of playing, the distin- guishing characteristic of the old pianists. Adolph Kullak, in his famous work on the Touch in Piano-playing, cites Thalberg as being the best authority on Legato Touch, and it is a degenerate sign of the times that this high ideal has been allowed to die out, and in its place so many artificial ways of getting the sound out of the Piano have come to the surface. Liszt, with all his greatness as a pianist, seems to me to have had an injurious influence upon piano -playing ; his imitators have been more successful in copying his extravagances than in imitating his excellence. Fine legato playing, the singing quality it begets in the performer makes the most enduring impression upon the listener ; and the time must come when the principles laid down by the old pianists, and culminating in the perfectly-finished performance of Thalberg, shall be fully recognized in our musical institutions. With regard to the comparative merits of class instruction and private instruction, much might be said, if time and space would allow. The piano is more played to-day than ever before ; the number of per- formers has increased in^proportion to the rapid growth of the popula- tion of the country. The class system meets the wants of the constantly- increasing throng ; it is less costly than private tuition. It has* this ad- vantage, that the ambition of the pupil is stimulated, and that brings in its train industry and application. Good results may be obtained in the technique, which may be considerably advanced. There is, however, danger of the pupil acquiring a hard, mechanical style of playing. Class instruction should be supplemented, if possible, by the best private tuition. The example of a teacher who is also a good pianist cannot be valued too highly. It is the basis of the future development of the pu- pil ; if possessed of talent, individuality will assert itself, and this is the 32 MUSIC teachers' national association. great objective point of all performance, and the means by which music reaches the heart of the listener. We hear a great deal in these days about tone-development, analyzing tone, etc., etc. The prevailing ten- dency is too much toward artificiality in piano-playing. Every now and then some new method of striking tte keys springs up to startle and be- wilder both the teacher and pupil. To produce a good tone on the piano it is necessary to have good models from which to copy. It is indispensi- ble to the pupil that every opportunity be taken to cultivate the taste by constantly hearing the best music, and by that means to awaken the inner consciousness. If the pupil is possessed of talent and a good hand for the piano, there will be no difficulty in developing a good tone and touch. During the last twenty-five years, it seems to me that piano- teaching has undergone many changes. Formerly, a teacher would have a pupil for six or seven years, witiiout interruption, and in that time there was a reasonable prospect of developing a good foundation both of execution and taste ; but, nowadays, one meets constantly with pupils who have had five or six different instructors in as many years. This must be a great drawback to genuine progress, and bound to produce superficial results. W«r live in an age that is constantly demanding something new. Everything is at white heat ; the work of ten years is compressed into three or four. There can be no royal road to good piano-playing — it takes time and work. As it is the highest aim and end of art to hide art, so to play the piano well, and not treat it as a threshing-machine, it is necessary to study long and persistently, to submit to difficulties with ease and naturalness. It is of the first importance that piano lessons be undertaken early in life, when the fingers are flexible and pliable. The teacher should al- ways insist upon a proper position of the hands, without stiffness ; a moderate study of five-finger exercises, with scales and arpeggios. A well- graded collection of studies, and afterwards some selections from a good composer, combining both instruction and entertainment. I have found in my experience four hand playing productive of excellent results. It teaches the pupil self-reliance, and at the same time develops a feeling for rhythm and harmony. The enjoyment of an orchestral perform- ance of the standard symphonies and overtures is greatly enhanced by playing four-hand. Piano arrangements of th^ra beforehand ; also, the sight reading faculty is strengthened and improved. I remember, as a boy, while taking lessons of my father, playing every day some new music at sight, until I became quite proficient in the art, and can men- tion one or two of my younger professional brethren with whom I have played four-hands weekly for years, and whose sight-reading has devel- oped in a corresponding degree. I think sight-reading is very largely an acquired accomplishment, although, to somt extent, a natural gift. There is another point about which I will crave your attention, and that is, the excessive fingering and phrasing all the best-known composi- tions have gone through. Any pupil of ordinary attainments can master THOUGHTS ON PIANO TEACHING. .33 the principles of fingering, if sufficient attention is given thereto in the early stages of instruction. The abundant passage work which is con- tained in the older piano music affords the very best opportunity for the pupil to master the intricacies of fingering, as these are all founded on the scales and arpeggios with their varied changes. I cannot see the necessity of having every note fingered, as is the case with most works for the piano. The pupil is never required to exert his thinking powers, but blindly follows the fingering set before him. Moreover, many of the modern innovations in fingering are awkward and at variance with the principles established by the best authorities. It is now time to speak of Piano music generally, its present condi- tion, and the changes it has undergone. There is no doubt in my mind that today there is a great dearth of good new Piano music. Our present writers seem to avoid all the lines laid down by their predecessors. The principal living composers, Brahms, Rubinstein, Tscharkowsky, Xavier Scharwenka, and Morzkowski, in their compositions for the Piano, do not consider whether what they write lays well to the fingers or not. Very few of Rubinstein's compositions are adapted to the ordinary hand, on account of the wide-spread extensions they contain; the same may be said of Brahms. One seldom meets with a scale or arpeggio passage in any of these writers. Similar want of adaptation can be applied generally to modern vocal and string compositions — in fact, composers generally have appeared anxious only to express their thoughts, without any special regard for the instrument for which they write. I think this is due to the influence of Schumann and Wagner. The poetic beauty and fancy of Schumann's writings, especially for the Piano, is beyond question. His compositions, from Op. 1 to Op. 32, testify the preference he had for that instrument; at the same time it cannot truthfully be said that Schumann wrote well for the Piano. His Art creed led him to say what he had to say, without regard to the form and medium of expression ; in this he differed very much from his great contemporary, Mendelssohn, who always expressed himself in the most polished and artistic manner, and although not possessed of Schumann's forceful and rugged genius, his complete and many-sided musical educa- tion made him master of the forms of expression upon every instrument. It has been the fashion of late years to extol Schumann at the expense of Mendelssohn, but I think unjustly, as Mendelssohn has been the means of resuscitating the works of John Sebastian Bach, in many respects the greatest of all musicians; and he has also succeeded in building up a highly original style of composition (I allude to the "Elfen" music), which undoubtedly has its inspiration from Bach, but under the exquisite master hand of Mendelssohn has developed into an entirely new creation. In this form of writing he certainly has surpassed all his imitators, and they have been many. What is there in the whole range of Piano music since his time, to equal his well-worn "Rondo Capriccioso " Op. 14? and how diflacult it is to play in a thoroughly finished and artistic manner. 34 MUSIC teachers' national association. I have dwelt upon Mendelssohn and Schumann, as they, with Chopin (who occupies a position in the world of Piano art sui generis), have affected powerfully all composers since their time, and indeed it might almost be said that there has been no individual style created since the era of these eminent men. If I may be allowed to trespass upon your time, a few words about the proper course of study for a Piano pupil of talent and ability might not be amiss. After having passed through the beginner's period, the pupil has a rich fund of enjoyment to extract from the literature of the Piano, which is the most extensive and varied in the entire musical art. The pupil should early become acquainted with the Rondo and Sonata forms, such beautiful examples of which he will find in the Piano com- positions of Haydn, Mozart, Clementi, Dussek, and their successors. There is also a wealth of Salon music, composed during the first half of this century, which is much neglected and which serves an excellent purpose in educating the fingers thoroughly, and lending grace and refinement to the execution. There are many pieces by Hiinten and Herz, familiar writers of forty and fifty years ago, which are of great service in teaching, and which have never been replaced by composers of the present day. There seems to have been a concerted effort made by the upholders of modern ideas of art to belittle the works of such a writer as who has done so much to develop " passage work" on the Piano. Hummel was, unfortunately for him, a contemporary of the great Beethoven, and consequently has never received his just deserts. He has contributed some splendid work in his Concertos in A Minor, B Minor, and A flat Major. These are masterpieces of construc- tion and difficulty, and it seems very strange to me that they are not heard more fervently in the concert room. No less a master than the late Adolph Henselt, who I believe was a pupil of Hummel for a time, has edited these Concertos in a very able manner. Hummel's smaller compositions for the piano abound in solid work, and at the same time are full of elegance and refinement, as, for instance, Eondo op. 11, Et> , Rondo "La Galante," Rondo in B minor, op. 109 (one of his late compositions, and full of difficulty); his lovely "La Bella Ca- priciosa," of 55. The larger works are 13 and 20, two sonatas in Eb, andF minor. Grand Sonatas op. 106 and 81, Quintette op. 87, piano and strings, the celebrated Septette for piano, wind and strings, op. 79, and, finally, the beautiful Sonata for foar hands, op. 92 in Ab . All are works of finished beauty, and deserve to be constantly heard. There are many composi- tions by Herz, which furnish excellent material for the young student. Fantasias on operatic themes, and a number of original compositions admirably written for the piano. Three or four of his concertos are highly ornate and finished compositions, full of difficulties, and all of a legitimate kind. Kalkbrenner has also written brilliant piano music, especially his concertos, although not so solid as either Hummel's or Moseheles' Thalberg's fantasies, and four or five of his original com- positions are fine examples of genuine piano music, and should take a THOUGHTS ON PIANO TEACHING. 35 prominent share in the course of study laid out in our musical institu- tions. In the way of studies and etudes, the field of piano music is very extensive, and here, to a large extent, we have to rely upon the old com- posers. Who, of our modern writers, has been able to compete with Czerny, Cramer and Clementi in the valuable work they have done for the student; also Kalkbrenner and Moseheles, whose studies are their best offering to the shrine of music. Bertini, Aloise Schmidt, Chas- Mayer, among many others, have all done valuable work in the same direction, besides many other compositions of an instructive kind. Chas. Mayer has written many beautiful pieces for the piano, which are now voted old-fashioned. Bertini has written valuable arrangements for four hands, of operatic themes, some of them are exceedingly effective and brilliant. I speak thus of so many writers who have grown obsolete, because I have taken pains to examine closely all the literature of the piano. Besides being very actively engaged in teaching for twenty-five or thirty years, I have given annually six chamber concerts since 1862, closing my twenty- sixth year last winter, during which time I have introduced over five hundred compositions for piano solo and ensemblg music with piano, and have discovered many beautiful things, which, otherwise, would never have been given a hearing. Since the era of the great classical composers, Mendelssohn claims the first place for his contributionss and the literature of the piano. His caprices, concertos, variations, serienses, Yariations, op. 82 and 83, his Lieder Ohne Worte, are all works of a highly-finished character. The larger compositions have abundant "passage work" (in which he has followed the footsteps of his predecessors), and are highly original, effective and brilliant, and what we would expect from so gifted an art- ist as Mendelssohn was. It might not be out of place here to institute a comparison between the piano writings of Mendelssohn and Schumann. Take for instance, Schumann's Concerto in A minor, than which there is nothing more charmingly poetical in the whole range of music, and yet it lacks the brilliancy and compactness of Mendelssohn's concertos, from the absence of scales and arpeggios in appropriate combination and contrast. Another composer, a contemporary of Mendelssohn and Schumann, who claims the attention of the Piano student, was the late Stephen Heller. It is a sad commentary upon the ingratitude which the world shows to its great artists, that such a man should have outlived his use- fulness. Stephen Heller's compositions, mostly for the Piano, although considerably influenced by both Mendelssohn and Schumann, are full of beauty, originality and elegance. His sets of pieces of a descriptive character, — "Dans les Bois" (three books), " Wanderstiinden," "Les Nuits blanches," and many of his Etudes — are really musical gems of the first water, while his transcriptions of some of the songs of Mendels- sohn and Schubart take rank with the best Piano music. How much a pupil should study of Liszt must depend largely upon natural endow- ments. He makes great demands upon the strength and endurance of 36 MUSIC teachers' national association. the scholar, and there is not one in ten who can master his difficult works, and I think the tendency of much of it is to stiffen the hand audi produce hard, unmusical playing. A few of his original compositions, such as Waldesrauschen, Au herd d'une Source, Les Feuxfollets, are highly instructive, graceful, and effective compositions. Many of his transcrip- tions, operatic and otherwise, while being very brilliant,Sdraw too much upon the strength of the performer. Among the very best, I would mention La Campanella (Paganini), Faust Waltz, Rigoletto .and the Para- phrase, Midsummer Nighfs Dream. Liszt's most enduring monument is undoubtedly his transcription of Schubert's songs, in which he has {suc- ceeded in combining the intricate and difficult accompaniments of Schu- bert with the song in the most able and skillful manner, and for the advanced student of the Piano this is most invaluable. Of the|more recent composers, Raff has bequeathed some lovely pieces to the Piano student — Styrisnne, Barcarolle op. IJfS, his masterly Suite op. 91, in four parts, and some of his Etudes, are all fine Piano music. Likewise men- tion should be made of Haherlier, whose Etudes poesies abound in grace and beauty. Adolph Jensen, a follower of Schumann, and afterwards a devotee of Wagner, has written charming morceaux of a highly descrip- tive character. His Idyl'en, Erotikon, Innere Siucke. his lovely Etudes, and many other works, are amongst the very best contributions we have had to the literature of the Piano since the days of Chopin, Mendelssohn and Schumann. The most advanced technique of the Piano is to be found in the Grand Etudes of the eminent pianists, Chopin, Henselt, Thalherg and Liszt, and there is also one writer, a follower of Thalberg, Theodore Dohler, whose twelve Etudes of 30, deserve a greater notoriety than they possess. I have purposely left to the last any consideration of the works of Beethoven and Chopin, for the reason that I regard them as represent- ing, although in a different way, the highest development yet attained in artistic form — Beethoven in the Sonata, and Chopin in the Dance- form. It is my opinion that the compositions of Beethoven and Chopin should not be played, or at least not to any extent, until the pupil has had a long training upon the Piano. Beethoven's Sonatas require an accuracy of execution, and cultivated ideas of phrasing and interpreta- tion, which demand of the pupil long preliminary training in "passage work," in other words he must be able to master greater mechanical difficulties than Beethoven's Sonatas present, before he can interpret musically the thoughts of that master mind. The same may be said of Chopin in a lesser degree: the delicacy and poesy of Chopin's writings require the most cultivated technique; the "Bubato" in Chopin, the great charm of his muse, takes a great control of rhythm, only to be attained by long experience and practice. Amidst all this mass of work which is necessary to complete the education of a Piano student, there is one writer whose works should THOUGHTS OK PIANO TEACHING. 37 form part of the daily study of every earnest student of the Piano through every stage of his progress, and he is John Sebastian Bach, to whom, as Schumann says, music owes as great a debt as any religion to its founder. The influence he exerts is invaluable. No one who studies his works thoroughly can fail to have a sound, healthy taste and judg- ment, and a full, round and sympathetic touch and technique upon the Piano. We live in a period of the greatest activity. What the future of our art will be, is purely a matter of speculation. I think all genume prog- ress and advancement must depend upon faithfully cherishing the best traditions of the past — venerating to the utmost our great composers, and making their works our highest models. WOMAN IN MUSIC. BY FANJSY BLOOMFIELD-ZEISLER, OF CHICAGO. Ladies and Oentlemen: The proper treatment of any subject involves the examination of the principles governing the same. It therefore re- quires no apology if I do not strictly keep within the boundaries indi- cated by the letter of my theme. The position of woman in music, her possibilities and limitations in that field, are controlled by the rules applicable to the intellectual limita- tion of the sexes in general. In thus suggesting that there are any limitations, intellectual or otherwise, even on the male side of creation, I hope I shall not forfeit the good graces of my male colleagues, a loss which I should look upon as quite disastrous, especially in view of the fact that I shall have ta play before you on Friday night. Right in the outset, I desire to define my position with reference to the proper place of women in the various activities of life. I am far from being a fanatical apostle of what may in one general term be styled "Woman's Emancipation." Irfreely admit the existence of many fields of intellectual activity upon which women never do or can trespass without sacrificing their more delicate or sensitive nature, the " ewig weibliche" (ever womanly), immortalized by Goethe, the greatest charm of,,woman, in my humble estimation. Thus, for instance, I do not like to see a woman take an active part in politics or pleading in a courtroom, although so great an authority as Emerson says : " Circumstances may be easily imagined in which women may speak, vote, argue causes, lesfislate, and even drive a coach, and all most naturally in the world ; it only comes by degrees." Now, to come to a closer definition of the comparative intellectual characteristics of the sexes. A great philosopher once said that women think with ther hearts, while men feel with their brain. This may not be absolutely true in all its logical consequences, but it certainly is a fact that women allow their sentiments to influence their judgment in a high degree. In men the intellectual faculties exist more self -poised and self- directed, more independent of the rest of the character, than we find it in women, whom talent, however prominent, is in much greater measure modified by sympathetic and moral qualities. To the one sex has been given in large measure strength, to the other beauty; to the one aggressive force, to the other winning affection; to the one the palm in the empire of thought, to the other the palm in the empire of feeling. WOMAN IN MUSIC. 39 The ancient philosophers had such good opinion of our sex that they ascribed all arts to the muses, all sweetness and morality to the graces, and all prophetic inspiration to the sybilis— all women. Certain it is that, in all things that appeal to the heart, and that in- volves the exercise of the finest sensibilities of a sympathetic nature, as in all departments of art, woman cannot only be equal, but even the superior of man, while she is, at least in the present condition of devel- opment, almost excluded from the investigation of the laws of the exact sciences, notwithstanding a few exceptions, as, for instance, the two ladies who recently won the honors of their respective classes at Cam- bridge University, England. Among all the arts, music is the most favored at the present time, and, being the art of motion par excellence, it is no wonder that women should so industriously and enthusiastically devote themselves to its cultivation. The art of music has two very distinct branches, the creative and the reproductive. About the latter and woman's part in it, little need be said. I am confident that even those who are least inclined to credit our sex with any mental capacity will admit that women have reached the highest pinacle of fame, and deservedly so, in the various kinds of repro- ductive music. They have produced some of the greatest singers, pianists and vio- linists who were and are recognized as most eminent exponents of their respective arts. Whether there are any particular characteristics distinguishing the performances of men from those of women, is a debatable question. There are people who claim that, as a general rule, there is to be found more breadth and power in the work of men, and more grace and sentiment in that of women. They speak of manly, in contradistinction to effeminate interpre- tation. They claim that men are peculiarly fitted for the rendition of the more serious types of music, such as Bach, Beethoven, Brahms, etc., while women's best work is in the interpretation of the more poetic, romantic and sentimental music of Chopin, Schumann and Mendelssohn, etc. While I admit that, up to a certain degree of efficiency, these dif- ferences might be discernible, I do issist that they disappear — nay, more than that, change places, if anything, among those artists of both sexes who have reached the highest development in the art of interpretation. We find many male artists, recognized as peers in the profession, especially pianists, whose renditions are characterized by delicacy and tenderness of conception, like Pachmann, to name only one, while some women show a decidedly masculine spirit in their playing ; I only need to remind you of Sophie Menter. But, with all that, it can hardly be denied that, as a general rule, 40 MUSIC teachers' national association. even among the greatest artists, men belong to the objective, women to the subjective class of interpreters. Men usually have the capacity for concentrating their thoughts more strictly upon their mental work, and to place themselves outside, as it were, of the composition they attempt to render. A woman puts her innermost soul into everything she undertakes ; her momentary feeling, her humor, always effects her iuterpretatiou. It is this subjectivity that renders her performance so fascinating. She allows her temperament to carry her away, but it is this surren- der of her whole nature to her chosen art that makes woman's position in reproductive art unique. We now come to the more important branches— Creative Art in Music. Until recently, it was perfectly justifiable to"doubt the possibility of women possessing creative artistic powers in any branch of the art. Receptive Faculties — They have always had ready and vivid percep- tion of the beautiful in art, delicate discrimination and refined taste, and especially in music the power of reproducing what the genius of man created. But to originate any work of even second rate merit was what no woman had done. No literary work of any significance had ever been produced by a woman, if we except Sappho and a few other half -legendary characters, and with the exception of Miriam and Deborah no woman was ever credited with the production of even a national song. Neither had they achieved any success in painting, architecture or sculpture (always with a few exceptions, which only prove the rule). They applied themselves to domestic duties, the only thing which the world considered proper for them. Women were looked upon as physically and mentally unfitted to compete with men in any of their occupations; indeed it was thought indecorous for them to do so. They were, as Macaulay puts it, humble companions, playthings, menials, and beasts of burden. But now things and opinions have changed. The liberal spirit of modern times, inaugurated by the revo- lution at the end of the last century, has altered the position of woman in public and social life. As soon as her chains were lightened, we find a Rosa Bonheur paint- ing animals like Landseer, a Mrs. Butler producing war pictures worthy of a Wouvermans, a Harriet Hosmer creating her Zenobia. And if we enter the field of literature, the number of women who have immortalized their names becomes legion. Not only have they shown their genius in originality of invention, but some of them have created a style of their own, and have exhibited as manly and earnest a spirit as any of the great poets of all times. I only mention George Eliot, George Sand, Madame de Stael, Fanny Lewald, Mrs. Browning, in proof of my assertion. • WOMAN IN MUSIC. 41 In the creative branch of MUSIC, however, woman's genius has as yet not had very great triumphs. Creative force, spontaneity of invention, and the power of combina- tion, so far as musical composition is concerned, seem to have been vouchsafed to them only in such small measure, that really great achievements in this direction have been out of the question. No female composer has as yet created an era, none has as yet marked her path by immortal works. Some people seem to question whether this is a deplorable state of affairs. At least there is one written authority for the claim that a woman who composes commits two sins: she increases the number of compositions and decreases the number of women. However, it is a peculiar phenomenon, worthy of some little investi- gation, that while women have achieved great triumphs in the field of literature and to a great extent in the arts of painting and sculpture, they have been unable to gain any position as composers. Many of the qualities which properly belong to a composer, their bitterest antagonist must concede them to possess: the tendency to ideal- ize, the fervid fancy, and the intuitive sense of beauty. What they lack is the power of extending their observations over a large range of facts before forming general conclusions; they lack, as we have observed before, the power of concentration. They lack the power of self-observation of their own thoughts, also the power of self-criticism and objective judgment of the production of their own minds. Moreover, the art of composition is full of technical intricacies, rules as exact as those of mathematics. It requires not only hard and earnest study of the rules, but the work of applying them is quite as serious a business. And here I come to what I think is the explanation of the above- mentioned problem, namely, why women have accomplished so much less in musical composition than in any other branch of creative art. The reason is this, because music is the most abstract ef arts, and on the other hand the most bound by mathematical rules. For all the other arts we have the great model — Nature. When we paint, chisel or write, we perhaps idealize, but we have a basis or back- ground of reality. But in music we live in an ideal world created by our own imagin • ings. As Arthur Schopenhauer so aptly phrases it, " music differs from other arts in being a presentative and not a representative art. Women, somehow or other, are not inclined to be bound by any technical rules. As Balzac says, "Most women proceed like the flea, by leaps and jumps. Not very sesthetical, but alas, too true. Composition is some- what like reasoning out syllogisms according to the strict rules of logic. But "women," to quote Bishop Whately, "never reason, or if they do, they either draw correct inferences from wrong premises, or wrong 42 MUSIC teachers' national association. inferences from correct premises; and they always poke the fire from the top." Again, it seems that in order to achieve greatness in composition, something more is required than the invention of merely new melodies, however charming they might be. There is no good reason, that I can think of, why beautiful melodies should not flow from the imagination of women. But that alone does not make a great composer. I lately attended the performance of a comic opera. It was full of delightful music, charming melodies, very interesting instrumentation. I spent a delightful evening, but I had, nearly all the time, the same feeling as when I come to the Music Teachers' National Association — at every turn I see a familiar face; I just felt like taking those melodies by the hand and saying to them, "Hello, old fellow, glad to see you; how have you been all this time." A composition may be ever so beautiful, still if the style is merely an imitation of another; if even a musical critic will be deceived into taking it for the work of some recognized composer, it cannot be called great. A person might ever so successfully imitate the style of a Beethoven or a Wagner, still he could only be compared to a comedian, who imi- tates the gestures, the accent, the mannerisms of some great actor, with- out sharing the creative power of his genius. Dixey's imitation of Irving is one of the cleverest pieces of acting I ever saw, still Dixey is not Irving. Schiller says in his Wallenstein ; '•Wie er sich rauspert, wie er spuckt, Das hat er ihm glucklich abgeguckt." A person, to become great as a composer, must be a pathfinder, as it were; new methods are not sufficient, originality of style is also an essential requisite. No woman has as yet entitled herself to credit for the latter, and as long as that element will be wanting, it strikes me that woman would show extremely good sense in not attempting to any great extent to be active in a field in which they would not get beyond mediocrity, an example which some men would be wise to follow. That potentially those elements, which so far, we find lacking in woman do not exist, I am not willing to admit. They are probably only slumbering. Many scientists of high standing maintain that woman's brain is by nature smaller, lighter, of more delicate fabric, and to that cause they attribute all intellectual deficiencies noticeable in woman. All this might be true, and still we need not give up the hope of ultimate success, even in those directions in which woman nowadays must be admitted to be inferior to men. A child's brain is certainly small, and of delicate texture, and still / WOMAN IN MUSIC. 4a under the influence of education, we see it grow and develope to a degree of capacity sufficient to cope with the most intricate problems of science. We speak of whole nations as being in a condition of infancy, morally and intellectually, and we have seen wonders in their develope- ment under the benign influence of civillization. I claim that woman's intellect is far from having reached its ultimate developement. As there are whole nations which are intellectually and morally in a condition of infancy, as a child's mind is undeveloped, though full of promise, in its early existence, thus, until comparitively recent times, was woman by being excluded from intellectual pursuits in a condition of childhood in reference to her mental developement. It cannot be expected that woman should in one or two centuries reach in every direction the same degree of developement as man, whose mind has been improved by constant application to the problems of science and the work of art for thousands of years. Woman's inferiority in musical composition may be safely attributed to the unfavorable condition under which she has thus far labored. There has existed, and exists to this day, the most obstinate preju- dice against female composers. They have until within a half century been excluded from all higher schools. They have, by the social condi- tions of former times, been assigned almost exclusively to menial duties^ I have no doubt that now, when these social barriers have been removed, when woman receives the benefit of a liberal education, she will, even in this field of art, develop in a high degree, her creative powers. Very few women have thus far had the courage to appear before the world as composers, and for that reason no final judgment can or should be formed as to the scope of their faculties in that field. During the last years we have at all events had some promise for better things in the future: Mile. Chaminade (who is Moszkowski's sister- in-law) Marie Jaell, Augusta Holmes, Clara Schumann, and above all Ingeborg von Bronsart, whose operas, "King Hiarne" and "Jerry and Bately," the latter on a text by Goethe, have done more or less creditable work, the latter's opera having had the honor of numerous public performances. But to reach the highest degree of perfection in this branch of art it is necessary that it should be seriously pursued. The true artist spirit grudges no amount of preparatory study, no labor of final completion. It is this spirit that woman has too often lacked, fondly imagining that her intutiveness would do duty for patience, and her tact cover the defect of study. If woman's work is to be a meritorious contribution to musical litera- ture, they must conscientiously pursue all the preparatory studies, they must aim at conscientious veracity of expression, clearness of thought, and symmetry of form. They must learn to be objectives and avoid that fault, which was aptly expressed by a writer, whose name I cannot recall, thus: "The universal trouble with female composers is, that they pitch 44 MUSIC teachers' national association. their ennthusiasm two or three notes too high, just as in chirography they deal too liberally in itOilics." But after all, even though woman has a long, weary and thorny path before her before she may become equal to man in musical compo- sition, still her position in music is even now assured. What we need now is not to imitate man, and try to become great in a field in which he has achieved success, but to develop those qualities which specifically belong to woman ; then, and then only will we be the true equal of man; in different spheres, in different directions to be sure, but equal in the degree of greatness in those spheres to which they cannot follow us. May it then be said, ''She came, was heard, and conquered." AMERICAN COMPOSITION. BY JOHN S. VAN CLEVE, CINCINNATI, O. The tripartite division which Julius Caesar assigns to Gaul, and the statement of which forms the famous first sentence in his immortal annals, might without much wresting or straining, be applied to the spir- itual domain of musical composition, and we might say all this nephalo coreggia, this cloud-cuckoo-land (to borrow a famous allegory of Aris- tophanes), may be divided into three parts: the past, the present, and the future. We must then ask ourselves three questions: What have American musicians done in the way of musical composition? what are they now accomplishing? what may they hope to do in the, future? The historical division may be safely left to the annalist, since it would lead us through a wide excursion, and the history of Yankee Hymnology, with Lowell Mason as its high priest; of that one original American product, the African song (both genuine and spurious), grow- ing as it often did like a gourd in the night, indigenous upon the South- ern soil and in the steaming tropical atmosphere of a per-fervid devo- tional assembly, or the imitation African song of Stephen A. Foster and all his confreres, also the vast swarming hosts of flies and vexing gnats that bear the envied name of "popular songs" and piano compositions — all these may be safely relegated to the discussion of others, and the two remaining subjects, namely, what are present musicians doing? and what may we hope for? will amply occupy the scope of our present dis- cussion. In music, as in literature, every creative mind is a link in a chain, a chain whose ends are out of sight, prehistoric in the beginning and reaching into the vague brightness of the most remote future. True, it may be, as Emerson says, that "inspiration is instantaneous, a flash intercepted by periods of darkness." True, also, as Lowell has remarked, that "we know little or nothing about the parentage of men of the first rank. It is, however, demonstrably true that all men must, in their intellectual and spiritual life, be as truly and as indissolubly connected with the past and the future as it is true of their physical life. When St. Paul addresses Timothy by the name " son," it is not merely a euphemism or a doting expression of excessive affection, but an exact expression of an actual and omnipresent fact of all spiritual life. Music is at once a thing of the body and of the soul. No art is more strictly sensuous, yet no art more ethereal. No art is more intimately inter- linked with the living, palpitating current of the blood, no art so com- pletely depends for its perfect realization upon the physical capacities and physical health of the interpretive artist, yet there is no art which 46 MUSIC teachers' national association. Teaches farther into that immense profound, that vast, vague, sublime darkness of the infinite spiritual «vith which we are constantly sur- rounded, and the presence of which we are forever perceiving by a dim foreboding or ahnung. The business of music, as of every art, is to give a physical expression to the most impalpable and subtile of our inner ■experiences, consequently there are two things always present in every work of art, and always presupposed whenever we prophesy that a work of art may be produced. These things are inward experience of a char- acter and dignity worthy of outward expression and material means which may adequately embody and clothe these conceptions. Either branch of this discussion opens up a tempting universe of Televancies, and a complete analysis would, of course, transcend the limits of the time assigned to me. But, upon the first head — that is, the fitness of the American life for artistic expression, I may be allowed a few passing remarks. First, then, of American music we may say, as of American literature, it is vain to ask for ''the OTie American typical novel" till we have the one typical American people. So, also, why ask for the one American symphom, so long as there is not the one American life? Yet, there has been good literary work produced in this country, good novels, excellent dramas, and, above all, poetry which seems to have the life-blood of eternity in it, and, perhaps, the same may be, in a certain limited degree, claimed for American music of the present and the past. Music, in tis whole history, has developed later than literature and, while it is a plant of rapid growth, and its periods of transforma- tion have always been short, we do well not to ask of it to accelerate this inborn speed, and, certainly we should never impart to its growth a watery pulpiness by hot house process of stimulation. Secondly, American life, though by no means lacking in the elements of the poetic and the artistic, is, to outward view and throughout a large extent of its reality, a thoroughly prosaic life. As in a mountain range of auriferous rocks the gold is scattered, now in slender veins, now in small particles, deeply-imbeded in solid rock, and, perhaps, somewhere snugly hidden away in the sandy bottom of a water-course, in a large pure nugget, destined for the lucky eye and hand of some half -despairing explorer, so it is with the poetry in American life. Our towering ambitions are built solid upon material well-being, and all the numerous strata into which American life is now subdivided, and is constantly subdividing itself in still thinner laminse, form convergent pockets and nooks in which imagination, genius and sentiment may be stowed for future development. To speak, then, in a large sense, Amer- ican life can be demonstrated to possess elements of the artistic, despite its roughness and hurly-burly and outward show of crass materialism. In the first place, of American life it may be remarked that its most pe- culiar characteristic is the fact that it is thoroughly composite. All the great nations have been composite races. The superficial ethnologist will at once stop me at this point with. Hold ! how is it about the Greeks and the Egyptians? And he will furnish me, not an exception, but a case AMERICAN COMPOSITION. 47 in point, for it is now well-ascertained that both the Greek and the Egyptian had the blood of mixed races in his veins. Therefore, the com- posite character of American life need afford in no sense a bar or chilling check to our most eager and buoyant anticipations. True, no doubt, it has been in former decades largely the " scum" of Europe, or the crimi- nal offscourings which have been plentifully poured upon our shores, and, even in our own time some check to immigration would be wise. There is, however, in this large insetting tide of immigration from both the East and the Western continents a goodly percentage, ever-increasing, of the intelligent and the virtuous classes of these older civilizations. All of these elements, as in a crucible, are commingled, and are destined by the inevitable laws of race, attraction and mutual reaction to be fused into one great people. This hasty glance at the inward conditions of America must suffice for the present. Now as for the outward material power of expression we Americans have first of all a wonderful mechanical genius which manifests itself every day in the enlargement of outward facilities. Our pianos justly challenge the admiration and even the envy of the old world, our violins, though like those of Europe not equal in excellence to the marvelous creations of the Amati family and of their greater suc- cessor Antonius Stradavarius, are never the less excellent. The natural voices of our Americans, particularly of the ladies, are of pure Italian- esque quality and their intelligence and sensibility, united to their in- domitable energy and plucky ambition have already produced a goodly number of operatic, concert, and oratorio artists, whose talents challenge the admiration of the entire world. Such names as Clara Louise Kel- logg, Anna Louise Gary, Madame Albani-Gye and a long list of others only second to these may be sighted in passing by way of proof. Secondly as to outward material conditions, the American nation is rich and is lavish with the expenditure of its money. We gather wealth easily and we pour it out with equal ease. The pocket book of every healthy American is like a little lake or temporarj'' expanse in a river; at one side the current flows in, it glides through and issues from the other side, with equal speed. The outlay of money on musical interests, for musical instruments, for tuition and for the opportunities of hearing artists in this country challenges our admiration and would almost stagger belief could it be set down in tables of statistics. Since the days of 1825 when Italian opera was established by the father of Malibran in New York to this year 1890 the great opera singers of Europe, the great pianists, the great violinists, the great everybodies look to find Eldorado in this Hesperian land and hopes by the alchemy of art to turn the golden glow of our sunset climate into the solid gold that may add a servicable bal- last to lightened fortunes. " But, you say," despite all thia lavishness of expenditure upon art it is crude and indiscriminate, it rushes eagerly, breathlessly indeed, after every new and flamingly advertised wonder from Europe but does not rely upon its own judgment or delight to afford local merits, that material aid which may serve as a substantial trellis to 48 MUSIC teachers' national association. its luxuriant and wandering vine." This feature is alas, corrupt, but then does not nature afford us a helpful and encouraging analogy ? On a barren, sandy soil it is first the weed with its rank luxuriance and its gay flowers that can find a foot-hold. The weed decays and crumbling into a mold forms the soil from which finer growths may drain their sus- tainance. This American prodigality of art patronage is a weed no doubt but it is a weed which reminds us of Spencer's beautiful phrase, " It is a weed of glorious feature." Patience, patience, brother American composers, we are not faring worse than our greater ancestors. How was it about Bach, and the material support which he received from his contemporaries? How was it even with the spiritual coin of praise? Did men bow down and worship him as the one great genius of the contrapuntal school, as we now do? Did the first works of Beethoven set the world agog with enthusiasm? Did Richard Wagner find the first twenty-five years of his creative activity a pathway paved with rose petals? It is well that composition of music does not pay, for if material wealth were added to the rich increment of joy and unspeakable delight which the composer experi- ences, every third man you met in the street would be a producer of symphonies, and we should at last arrive at that impossible yet perhaps serene nirvana when every man would have an audience of precisely one, and should be sure of that audience being appreciative, since it would be himself, and himself only. The present status of American composi- tion, and hj present I mean the work of the last decade, may be fairly and without exaggeration termed in the highest degree hopeful. The dawn is unquestionably here; not yet the full day, but the long prelude of growing colors. The faint tints and shading flushes of brightness are past, and the morning — red, warm rose, with the gold just rising out of it, which marks a true sunrise, a cloudless sunrise of hope and promise is here. There are in America many composers who ^re singing their souls and their heart experiences out into the world with enthusiasm, with hope, and I believe with sincerity of purpose. What if this choir of birds be like the twittering jargon of the morning, and remind us of an aviary, or call up that pretty sentence with which T. B. Aldrich begins his novel, the "Stillwater Tragedy:" "The wrens and the robins and the blue jays caught up the crystal crescendo, and what a melodious racket they made of it with their fifes and flutes and flageolets." What if every American city has its symphonist, who must fight with pen and tongue and pocket-book to create his work, to have it accepted, and to get an audience to hear it? All this is a stage in the true growth of art. This exuberance of productivity in the large forms, or more strictly speaking in all the accredited historic forms, from the Gavotte to the Symphony, from the Song to the Opera, from the Hymn to the Oratorio, is the first great hopeful and striking fact in the present status of American com- position. The second thing which kindles hope and supplies it with solid luel, is a state of things which at first looks like discouragement, just as a great, huge mass of sbiny black coal appears like a stone, but is AMERICAN COMPOSITION. 49 in reality only concrete sunshine; sunshine laid up since the prehistoric ages of the world to keep our fingers and toes from tingling with the cold of the present. This second great fact is that our composers as yet have produced little that is original. They imitate openly and pal- pably; they are seldom original, and when they are it is but for a mo- mentary flash, a passage of three or four measures, one or two chord- connections, or a spot of instrumental coloring. What, then, are they different from the great historical lives which have formed indissoluble links in the history of our art? Bach, copying by moonlight the works of his predecessors, and nourishing his musical faculty upon them ; Mo- zart boasting that there was no important work previous to his time that he had not thoroughly analyzed ; Beethoven, beginning all aglow with the style of Mozart and Haydn; Wagner going in the leading-strings of Gluck, Weber and Meyerbeer ; what are all these but illustrious ex- amples of the true and wholesome way in which composers begin? The absolute and startling originality of such men as Schumann and Chopin in no way invalidates the great principle which I am now considering, for, marvelous as was the originality of these two immortal masters, and, although each of them, when he attempted to write in a classical mould — witness the sonatas of Chopin and Schumann alike. Though producing works of great intrinsic beauty, considered as a whole, made failures. The originality of these men lay in soine one or two special respects, and their genius indeed never spread beyond a certain field, except as in the case of Schumann, to become entangled and confused. Imitate, then, brother composer, imitate boldly, conscientiously, avow- edly, and thank God for the long array of saints and martyrs, a great cloud of witnesses to the dignity, beauty and power of our favorite art. Lift high the crescent of the beautiful and replenish the lamp of imagina- tion, air the ideal region of our celestial art, the signal of promise. There, also, are the jjrognostics of a great future for America. America is the country where all mankind are at last joining hands in fraternal feeling, that universality of the human race of which the cultured Greek never dreamed. That friendly kinship of all things, which is one of the most precious and original gifts of Christianity, is in America. Though with many baitings and drawbacks and blunderings back into man's animal past is, I say, in America becoming actual and visible. In this very assembly, united by the magic bond of art, we come together of many languages, races and religious affinities. The facts about American musical life are, of course, contradictory and entangled. How we collect augeries which awaken hope. Again over against' them we find facts, with naphtha drawn from the wells of the past. But what of these weltering masses of sound which our American composers produce — what of these strivings after an unattainable ideal ? Is there any hope that something clean and new will come out of it? Yes, every way. As Venus, the god of love and beauty was created by the drops of blood that fell from Coelas when struck by the scythe of Chronos, true as these drops of blood fell into the ocean and were 50 MUSIC teachers' national association. Tvafted in a sea-shell boat to the shores of her island Cjtharaca, so the perfect works of the future will be generated by the life-drops of the dead past falling upon the weltering, vast ocean of our tumultuous pres- ent feeling. When lecturers like Joseph Cook can find facts to stimulate burning hope in the quarry of statistics, we musicians may also find in the upper which breed discouragement. ^But hope outweighs discouragement and the spirit of earnest research, of ardent thinking and liberal support of all things new and good which run like a thread of gold through the whole web of American life, must bring forth similar good results in the region of American music. What will our future music be? Who can tell ? Will it be Italian, German, French, English, Russian? Probably neither, hut] all. The press is to-day teeming with American composi- tions of an artistic grade, not one hundred, but five hundred per cent higher than the current compositions of twenty-five years ago, and all this is full of cheer. What if our circle of admirers and sympathetic appreciators be small ? Let us never forget that the highest reward of art is art itself, and if the American public is sufliciently educated, sensitive and sympa- thetic to take lessons from us, or to buy our concert tickets until our bodily needs are supplied, let us thank God, and rejoice that the rewards of composition are the ecstatic moods which compel the collection of tone, and whenever the heavenly visitors come let us, like Abraham of old, entertain them with genial hospitality, and when the word of art- rapture shall bring the fiery chariot of Elijah, let us mount fearlessly into the presence of God. THE SCIENTIFIC STUDY OF MUSIC. BY WALDO S. PRATT, HARTFORD, CONN. In responding to the invitation of the Program Committee to say isomething concerning the present condition of musical thought and its future, I shall look simply at one aspect of this great subject. It would require not only much time but a very peculiar equipment to discuss the present and future status of music completely and in detail. The survey of the strictly artistic unfolding of music during the nineteenth century is alone a matter for a large volume, espscially if one were to treat in turn of the changes in theories and methods of composition, of the new forms for containing musical ideas, of the new instruments and new systems of vocal and instrumental technique, and of the new person- alities and schools of thought that are now conspicuous in the musical world. Such a survey could be brought to bear upon the immediate question before us if it were only executed in a profound and catholic spirit, and were to culminate in a just estimate of the tendencies that control music in its capacity as the art of the nineteenth century. Doubtless a most interesting and suggestive study might also be made of the part that music plays as a factor in modern society m different parts of the world, of its connection with business, amusement, education, and the greater interests of humanity, especially if some prophetic master could show us wherein music really touches the prodigious prob- lem of our common life, and what, therefore, we are doing for or against their proper solution. I for one should like to hear something too about the reactive effect which modern musical life, with its artistic and ^sociological tendencies, is having upon the musician himself, or, in other words, a study of the present and future of music as revealed in the character of its devotees. But I shall confine myself strictly to this one inquiry: Is what may be called the scientific side of music, as usually studied and presented, as large and effective as it ought to be? This inquiry has been forced upon me by certain work in terminology in which I have been engaged for some years. Musical terminology is commonly understood to be simply the definition and explanation of musical terms or technical words. But in thus describing its field we often forget that definition in any complete form is impossible without a logical arrangement of both the facts of music and the terms in which they are expressed. Furthermore, we also forget that no such arrangement of either the facts or the terms of music is possible without a genuine mastery of the whole field covered by what we call "music." In short, the definition of musical terms involves 52 MUSIC teachers' national association. a thorough classification of musical things and ideas, and such a classifi- cation involves a scientific knowledge of music as a whole. It will at once be objected that all well- trained musicians do know music in this scientific way. The best known masters are often 'called "scientific musicians," and with reason. They are familiar with the immense field of musical works, and perhaps have a marvelous repertoire of masterpieces, as the phrase is, "at their finger-ends." They are keen critics of the relative merit and the artistic point of these and other works. They are often very effective performers, revealing thus a musical insight and an interpretative power that challenge hearty applause. In many cases they prove painstaking and inspiring teachers, so that their influence is manifest throughout a wide circle of intelligent disciples. Above all, they often exhibit genius of the highest order in, the production of original works in various styles, which rank among the real contributions to musical literature. It would be presumptuous and foolish enough to object to the repu- tation of these, our great men, the shining ornaments of our profession.. Is is not my purpose even to seem to do so. My question is simply whether these artists themselves would not generally admit that the art of musical creation, reproduction, and instruction has another side than the artistic one, at which comparitively few of them have had the time to look with much thoroughness. If this be true, it is a fair question for us to ask ourselves: Is it not possible that the study of that other side may be important to an unrealized degree, at least for the average musician ? There can be no question that the art of music, like all the fine arts,. has a side which may be called the scientific side. The materials, physical and mental, which music employs, the laws she follows in putting her ideas into those materials, the entire mechanism of composition, perform- ance, and appreciation, together with the connections between music and various non-musical spheres, these things are objective phenomena. They exist by themselves. They can be analyzed, described, compared, grouped, and reasoned about. They are genuine objects of rational investigation. Their objective reality is obvious at every step of music teaching, otherwise there would be no hope of widely communicating them; otherwise they could not be set forth in spoken language, much less in a text book or dictionary. But it is probable that most of us have as yet very narrow views of the scope of this scientific side of music, and consequently are slow to concede its importance with reference to our artistic even our educa- tional work. This is not the place to argue at length concerning the relation between the science of an art and the art itself. Some artists deny the relation altogether. Some are so constituted that they never really grasp the scientific side, and therefore yield to its influence only accidentally and unconsciously. Some confuse the distinction between science and art, and so reach only muddled results in both. Without plunging into the metaphysical problem of the relation between science THE SCIENTIFIC STUDY OF MUSIC. 53 tind art, is it not strikingly true that our common habits of thought and s'lfreech about music will not bear comparison for intellectual force and precision with the standards already firmly established in the physical sciences, like chemistry, or the literary sciences, like rhetoric, or the social sciences, like political history? We know that mental-working, tor example, as an art is largely indebted to scientific chemistry, that oratory and poetry have profited much from formal rhetoric, that pratical statesmanship has learned many a lesson from history. Is it not probable that the art of music may find more than is commonly -expected in an elaborate study of itself as viewed with the eyes of a scientist? Do not the sporadic and unharmonized attempts to handle , single items or sections of musical science with a genuine scientific method indicate that the value of such investigation is actually admitted? This brings me to my main proposition : that among the most momentous needs of music in America is the extension of this strictly scientific analysis, classification, and definition to the entire round of musical facts and to all the details of aur • professional activity. We need the discipline of such study as musicians. It will give us a cooler judgment, will guard us against the heedless impetuosity of the heart, tind will lay a basis for a nobler moral ambition. It will tend in short, to make us broader and better men, because supplying that intellectual culture and power which has always been more or less lacking in our ranks. Music as a productive fine art, too, needs the regulation of sharp logical criticism. More than all the other fine arts, it deals with emotion, passion, ecstacy ; it revels in those intense imaginings and longings •for which language and the graphic arts are such tame embodiments ; it voices things otherwise unutterable ; it stands therefore somewhat by itself among man's efforts. It draws into its circle many who are abnor- mally developed in the capacities for which it is the only natural outlet. The uttrances of such men, because of their very intensity and the marvelous fitness of the mode of utterance to the contents of the utter- ance, often seem to be the highest possible achievements of music. Yet is it not conceivable that a more diligent study of what music really is might reveal the essential one-sidedness of such utterances, and gradu- ally lead to the exaltation of something more truly representative of the liumane spirit in its ideal perfection? Furthermore if music is to occupy a high place among the other activities of life, it needs to effect a much closer adjustment of itself to life as it is than its intellectual grasp of its own nature and powers has thus far enabled it to make. Nothing is really worth while that cannot demonstrate its value in relation to the eternal verities. Music has been too content to be counted as only a pretty bubble, a curious plaything, a refined pastime, or an emotional intoxication. It has vaguely claimed genuine value, and has exacted a show of respect from the deeper students of humanity «,nd its problems. Yet, when challenged, it has often been sadly at a loss to justify its claim, simply because its advocates have been intellectu- ally unable to handle the question involved. 5i MUSIC teachers' national association. If there be any force in this argument, it is plain that certain objects of effort should be before us all in our daily life as musicians. First, we ought to set our house intellectually in order. We ought to find a place in it not simply for what we call ^Aeor^, " meaning thereby "musical construction and creation, not simply for technique, or musical reproduc- tion and interpretation, not simply for methods of teaching this or that practical branch, but for musical acoustics, the science of th€ physical material of music and the physical means by which music is produced, for musical cestJietics, the science of the perception, appreciation, critcism, and translation of music, for musical pedagogics, the science of teaching^ music so that music itself shall be taught, and not simply the phantasms • of notation or technique, and for what may be called musical practics, the science of the relation of music to ends outside itself, to health, to social intercourse, to the great subject of education as now understood, to the growth of individual character, and above all, to the truths and the work of religion. Having found a fit place for these branches of musical science, we ought to conquer each of them by means of patient and minute analysis and classification. The advancement of each of the other arts and sciences is universally being sought at present through this kind of severe scientific scrutiny and systemization within its own field. Why should not the field of music be similarly treated, in order that it may be similarly extended, developed, and mastered in a scientific sense? Second, we should seek to make clear the analogies between music, thus scientifically regarded, and other fields of scientific study. Nothing^ would do more for the elevation of music in the eyes of intelligent men generally than such a demonstration of its scientific importance as we might give if we chose. Nothing would more encourage amoung us that hearty self respect, which we sometimes secretly lack, than the posses- sion of snch a logical and incontrovertable conception of the dignity of our field of work. It is certainly true that music should rank among the great subjects of intellectual research, like biology, political economy, or literature. It should be a standard item in the curriculum of every college and university. Its technical schools should everywhere rank with the technical schools of mechanics, medicine, law, and theology, not simply in point of size and conspicuousness, but in truly scientific organization and in intellectual influence upon the world outside. That as a rule our music schools do not thus rank is due more to the lack of a comprehen" sive and thorough scientific method than to any one cause. Third, we should conduct ourselves as musicians and as men in accor- dance with the truths derived from such a scientific consideration of what we are about. We should steadfastly set our faces away from the false, the petty, and the useless factors in musical work, and labor with heart and soul for the true, the beautiful, the everlasting in all our attempts at producing, interpreting, criticizing, teaching and applying^ music. Everyone knows that right conduct ought thus to be the fruit in the end of a scientific habit of mind. The reason why scientific study THE SCIENTIFIC STUDY OF MUSIC. . 55 does not uniformly result in noble and helpful living is usually that the study itself is not deep enough, or is guided by false principles, or is not properly articulated with moral activeness in general. The dignity of music, to be established beyond question, must sooner or later demon- strate itself in the personal dignity of musicians. That we have many fine musicians who are universally recognized in their respective com- munities as noble men is happily true. Bnt that the profession as a whole is not thus recognized in America is principally due to the low standard of intellectual vigor which we tolerate. One of the surest paths to personal power is through the deliberate elevation of scientific thought in every grade of individual effort. Let us not forget that the final test of the greatness of a profession is the average character and influence of its representatives. This Association has done much to develop the scientific sense among its members. Its papers and discussions often exhibit intellectual power of a high order. Its efforts have lately been directed toward the perma- nent improvement of methods and encouragement of conscientious -investigation. Among its chief accomplishments may be mentioned the formation of permanent committees for the study of various topics. Let me urge in closing that every assistance posssble should be offered these committees, and that such stress should be laid upon their work that their reports shall be prepared with greater and greater care each year. The time should come when their formal utterances shall be generally accepted as authoritive not because promulgated in the name of a great national Association, but because their work is known to be dominated by a scientific method of unquestionable validity. In particular, the fact should be emphasized that the Committee on Terminology, if it con- strues its work broadly enough, and goes about it patiently enough, has it in its power not only to settle various petty questions that bother all practical musicians, but to assist materially in that radical scientific investiga^tion and formulation of music as a whole which is among the greatest needs of our time. The materials for the work are abundant. Several particular branches have already been finely handled. What i& needed is at least the outlines of a grand system of musical thought that shall include these notable achievements and many more. The one pur- pose of this brief essay has been to hold up the importance, in proper conjunction with the strictly artistic side of musical effort, of this neglected scientific and philosophical side, and to commend it to all who believe that music has before it a future even more wonderful and glori- ous than its wonderful and glorious past. THE ORGAN. BY A. A. STANLEY, ANN ARBOR, MICH, Mr. President, Ladies and Gentlemen: In following out the line of thought suggested by the Program Com- mittee, those of us who are particularly interested in the organ iastinc- tively turn back in thought to the beginning of the 18th century. This period, ths beginning of so brilliant an epoch in the history of music in Europe, was a barren one for American art, in fact such a thing as American art was practically non-existent at this time. In breaking away from what they were pleased to consider religious serfdom, the early settlers had set their faces so sternly against the de- velopment of those finer artistic sensibilities which they regarded as evi- dences of weakness of character, that there grew up in the colonies a spirit of antagonism to art, which is not entirely eradicated in many localities even now. In view of this feeling, we are not surprised to learn, that the first organ in New England (an imported instrument do- nated to Queens Chapel by a generous commnuicant of the church) was allowed to remain unpacked for seven months in the church porch. This was in 1713. The men of this period, so firm in their adherence to principle, were no less unavering in their prejudices. About this time — possibly at a somewhat earlier date — an organ was erected in Old Trinity Church, New York. The organs of this period were in the main of English manufacturers and the growing popularity of the instrument which led to its gradual in- troduction into the churches induced many, more or less distinguished English organists to come to America. Trinity Church, New York, can point to an illustrious succession of sound musicians, who officiated as organists, and can truthfully claim by reason of this fact to have been no important factor in the develop- ment of organ- playing in this country. It would be interesting to dwell at length upon the marvelous growth of the art of organ building in this country, but as musicians we are more concerned in the development of oragn playing. We will therefore simply touch upon one point in this connection, viz. the intimate relation between the perfecting of the organ mechanically, and the growth of artistic organ playing. The Beethoven Sonata is no less elfective because the instrument for which it was written would be considered entirely inadiquate at the present day. The Beethoven symphony can be given to day with greater perfection of tonal color than ever before. So the Bach fugue loses none of its majestic swing by reason of the richness of tonal quality and the perfection of the mechanical accessories of the modern concert organ. THE ORGAN. 57, While the artistic need must and does always exist before the mechanical supply is forth coming, added resources in the means, will necessarily suggest greater possibilities of achievement as the end. If the beautiful gradations of tone color in our modern instruments are such important aid to the performer, must we not respect the artistic sensibilities of the builder who has so arranged all the tints of the tonal palette that the artist finds them ever ready at hand? There are in the employ of our leading piano-forte and organ makers to-day, men whose appreciation of tone color is so refined that they may well be called artists in their line, and musicians should not forget them. The added wealth of tone color and the greater possibilities of execution in the modern concert organ makes it possible for the organist to draw upon orchestral literature, and places at his command many of the most beautiful orchestral effects. But we anticipate somewhat and find that we must retrace our steps. The artistic impulses which influenced the continent and England were not felt in America, and the dreamy tunes Which our ancestors dolefully sung, did not make great demands upon the church organ of the middle of the last century. In reality in most of the churches it was not needed, for the ultra orthodox congregations were highly contented with a pitchpipe, while the less conservative com- promised the matter by employing the primitive orchestra which to most of us nothing but a tradition was to these church-goers an harassing ac- tuality. Strangely enough the absurd performances of these amateur orchestras did not disturb our conscientious fore-fatherism the least, but the faintest suggestion of a change to the organ was after the signal for bitter and prolonged contests. It is not strange that both organ-building and organ-playing lan- guished. The Episcopal church alone used the organ as an adjunct to church worship, and to this church we owe the only stimulus to both builders and players for quite a long period. But how strangely things have been reversed in our day! The historic church to which we have referred still maintains its use of the instrument as it did at this time, and has kept the organ in its appropriate position, as part of a service, ever dominated by principles of appropriateness and reverental worship. The churches which would have nothing to do with the instrument have not only taken it into the service but have in many instanjjes laid them- selves open to the charge of inconsistency and inappropriateness by as- signing it a position in worship which properly belongs to it in the con- cert hall alone. If we study and analyze the peculiarities of American organ-playing, we can account for many of the strange practices which have been de- veloped in our church organists. The organists m the Episcopal church — in the larger churches — were many of them fresh from the inspiration of the Cathedrals of Old England, and they introduced English music and English methods into this church. This influence still survives and dominates th3 musical service. The orthodox churches not only did not come under these influences but by principle were prejudiced against 58 MUSIC teachers' national association. them and the music in those churches was pre-eminently of native growth. The performance of the early music of these churches was highly in artistic, and the laughable attempts at imitation, resulting in the so- called "fugueing tunes" could not by their very nature contribute much to the upbuilding of a school of writing or of playing which should bear any distinctive merit. The spirit of antagonism to art, which made of music a plaything for weaklings, would not be conducive to its thorough study, and although during this period in Europe most of the most glor- ious conceptions the world has ever known were brought forth, they re- mained practically unknown. To be sure we find occasional references to Handel, Haydn and other noted composers, but the general ignorance of the works of these men was lamentally profound. When Lowell Mason appeared it was the beginning of the dawn, and we should never forget what we owe to this man who first led American musical thought in the right direction. Our admiration of the attainments of modern musicianship leads us oftentimes to view somewhat superciliously the work of Lowell Mason, but many of his tunes have a solidity and rugged strength which makes them worthy of preservation, and some of them were written in his hearts blood. He and others like him were actuated by pure ideas, and if we have any indignation to spare, it may not be amiss if we direct it against those musicians of our day who are cer- tainly untrue to their ideals, and prostitute the talent for gain. We might as well ignore the work of the Netherlanders and the Pal- estrina school of composeis because they saw but darkly the possibilities of musical composition. Following Dr. Mason whose playing was singularly straightforward, we find a race of organists growing up characterized • by the possession of all that a good organist should not have, and notably deficient in all the qualifications of a good player. These organists sought to substi- tute an exaggerated sentimentality for true feeling and starting from an entirely vicious standpoint, gradually added those blemishes which con- stitute the art of how not to play the organ. Had they associated them- selves into a guild an appropriate emblem would have been a pedal rampant. Sacrificing all the musical unities, they naturally disregarded the laws of appropriateness, and thus arose the practice of making the church a place for the performance of music which is more suitable for the beer hall than the House of God. Their favorite motto.. "Do not let the Devil have all the good music," might read. Do not let the Devil have any music good, bad or indifferent, for it was all placed indiscrim- inately upon the altar of worship. The Anvil Chorus alternating with the Hallelujah Chorus; a Strauss Waltz played slowly; a Bach hymn played rapidly and other strange companionship formed the ordinary repextoire. It must be confessed that neither Bach nor Handel competed with the other composers but seldom. But other influences asserted themselves, the example of Dr. Mason inspired many younger men to become acquainted with standard THE ORGAN. 59^ works, and more than that many sought abroad the opportunities for musical culture denied them in their own country. Choral societies had long ere this been formed and the musical bureau thus introduced grad- ually diffused itself throughout the country. As early as 1770 Handel's- Messiah was performed in Trinity Church, New York. The study of standard works in New England and Eastern New York began to bear legitimate fruit and when American organists who had studied in Germany and England began to pursue professional careers in their own country and to assist the manliness of devotion to a purely ideal art, the future of organ playing was assured, and for the last twenty-five years the advance has been phenomenal. Organ builders stimulated by the increased demands made upon the instrument by the new race of performers, applied to the perfecting of the instrument the inventiveness and skill which have done so much for America and were thus able to produce instruments which rivalled the products of the best European makers. Having profited by the wonderful developments in organ building, we should as earnest musicians strive to contribute something to a better appreciation of the instrument and endeavor as well to assist in building- up a more perfect style of playing. To this end let us briefly glance at some way in which we can assist in advancing our art. First, as teachers- we should insist upon a more careful preparation of those who desire to study the instrument. To play the organ well one requires a certain technical development which can only be acquired by piano-forte study. The flexibility of wrist, the clinging legato touch, the crisp staccato, are all necessary, and the between extremes of touch indicated by legato and staccato, the modern organ allows the subtler gradations of touch which formerly belonged to the piano-forte alone. The student who has an appreciation of the points indicated above and who has mastered th& diflSculties at the piano keyboard in a position to do artistic organ play- ing hut not before. Second, The principles underlying the art of registration should be carefully demonstrated in our teaching. The reasons for assisting, that, while we must have light and shade, and variety of tonal color, there shall be a well considered plan, which governs the employment of these artistic resources, must be pointed out. The analogy between Instru- mentation and Registration must be made clear. Structure of various composition forms must be analyzed and thus the student placed in a position to intelligently consider the best methods of registering the var- ious parts of the work, that the thematic relationship and the underlying idea may be emphasized. Third, As organists we should combine and insist upon a uniform system of marking the pedaling, and should strive to make of the mechanical accessories helps, not hindrances. Having disposed of the clumsy fingering which marks the thumb with a cross f possibly to emphasize the fact that to the student who seeks to acquire scales, and the teacher who aims at the acquisition of 60 MUSIC teachers' national association. patience and self-control this unruly member is a burden), why should we not use a clear and definite system of marking. A uniform nomen- clature should be adopted as well as a uniform arrangement and classi- fication of the draw stops, so that the names shall accurately indicate the quality of the tone, and the position of the stops in all organs be the same. It is a great annoyance to the organist to find so many different groupings of foundation stops and certainly perplexing to the concert organist whose profession leads him to play upon different makes, often- times with but a slight opportunity of acquainting himself with the in- strument. The arrangement of combination pedals, the position of the swell pedal or pedals might be settled very easily by a committee of com- petent organists acting together with an intelligent builder. Think of the pianist with a small hand having a keyboard made to fit him, so that key -boards could be furnished to measure like a suit of clothes, but that is no more absurd than to make the machanical accessories, which are so essential to the modern organist, so confusing that the performer is hampered by them instead of being assisted. Fourth, We need to have truer conceptions of the relation between art and worship, and the clergy may well take to heart many lessons taught by the existing state of affairs. Too often the standpoint occupied by them is the one from which a writer in the Century some years ago delivered a series of articles which were so absurdly illogical and ridicu- lous that they hardly deserved notice, but the musical service of the church will never be adequate until the most perfect sympathy exists be- tween pulpit and choir loft. When a church, instead of hiring the seventh part of a man's energy, places a competent musician at the head of the churche's musical work, and allows him to give his whole time to the service of the church, the problem will be solved, for the church organist will then be a man thoroughly and specially trained for the work. This organist will be alive to the importance and dignity of the service to which he is called, and his mastery of the instrument will be employed in a manner more worthy of the occasion than in giving an organ recital with worship accompaniment. I think there is this to be said of the majority of organists, that they would prefer to play more appropriate music than the majority of church goers will listen to. The organist has to live, and to live must depend upon the favor of the congregation oftentimes, utterly ignorant of what they ought to like, no ambition to improve, and no desire to know better. Thanking for your kind attention for these rambling remarks, let me conclude by asking you to assist in securing for the King of Instruments its true position in both church and concert hall, and appealing to you as earnest musicians to preserve intact the fundamental difference in its treatment in the two positions. EARLY ORGANS IN AMERICA. BY SUMNER SALTER, OF NEW YORK. One reviewing the musical history of this country plainly discovers that the American organ and organist have in a few score years risen from practical nonentity to a position commanding the respect and esteem of the foremost builders and players of the world. Seventy years- may be said to be a liberal allowance of time for this period. It is not our purpose to study the history of this development, how- ever, but to make an examination into certain conditions antecedent to it, viz, the attitude of the churches towards the use of organs, the numerous organs imported from England, and some of the earliest attempts at organ building in this country. To understand the attitude of the churches on the question of the use of organs, on their introduction in America, it is necessary to draw a line of distinction. For musical considerations we may say that the early American col- onists may be divided into two classes. The one was loyal to the crown, was identified with the Established Church of England, and reflected it* life. The other had renounced its allegiance to the crown, sought to establish its own church and fashion its life upon principles peculiar to and approved only by itself. It was the i!^(m- Conformist or Dissenting^ class, of which the Puritan was the prototype. We may call the former Episcopal, or English; and the latter Inde- pendent, or American. How far the general growth of musical taste in this country is traceable to the influences springing from the former class it is not our object to consider, but we would heartily commend it as an important subject for investigation. It must be said, however, that in the matter of organs this influence was very great. Without it the days of organs in America might not have come even now. It is too true that however inspiring the rugged grandeur of the character of the Pilgrim Father may seem to us, we can not trace back to him any price- less legacy of instinctive love of music. Some twenty years after the landing at Plymouth Rock the English Commonwealth was established and the wholesale destruction of organs, etc., throughout the kingdom took place, according to the ordinances* of the Houses of Parliament, passed January 4, 1644. The feeling expressed in these ordinances permeated the Pilgrim Fathers on their advent in New England, and became with them a deep-rooted conviction, *" Two Ordinances of the Lords and Commons assembled in Parliament, for the speedy demolishing of all organs, images, and all matters of superstitious monuments in all cathedrals and collegiate or parish churches and chapels throughout the Kingdom of England and the Dominion of Wales, the better to accomplish the blessed Reforma- tion so happily begun, and to remove all offences and things illegal in the worship of God." MUSIC TBACHKRS' NATIONAL ASSOCIATION. which has lasted in many quarters up to a very recent period.* The English Restoration set in in 1661, and the organs destroyed in accordance with the ordinances mentioned were gradually replaced by Father Schmidt from Germany, Thomas and Rinatus Harris, from France, and their distinguished successors. The fondness for the instrument on the part of the loyal worshipers of the Church of England, led by King Charles II., who appointed Father Schmidt " organmaker in ordinary," and established him in palatial quarters, revived with great vigor. There were not enough builders to supply the demand. It was only a few years after this, towards the close of the seven- teenth century, that some of the most prominent churches in this country were established, notably King's Chapel, in Boston, since become a Uni- tarian church; Trinity Church, Newport, R. 1., and Trinity Church, New Tork. King's Chapel, Boston, erected the structure which still bears the name, in 1689. The first organ in America is connected with the history of this ohurch. It was brought to this country by Thomas Brattle, Esq., born Sept. 5, 1656, graduated at Harvard College in 1676, in a class of three and treasurer of the college from 1693 till his death. May 18, 1713. He was evidently a Macenas of his time, and, while he was not an Episco- palian, he was rather too progressive in spirit to be regarded as a typical Independent. The organ was for his personal gratification at home and the entertainment of his friends. Rev. Samuel C. Green, of Salem, says in his diary, in 1711, " I was at Thos. Brattle's, in Cambridge, heard his organ, and saw strange things in a microscope. "f By will, probated May 23, 1713, the organ was bequeathed to Brattle Street Church, being " given and devoted to the praise and glory of God in the said church, if they shall accept thereof, and within a year pro- cure a sober and discreet person that can play skillfully thereon with a loud noise ; otherwise to the Church of England in this town, on the same terms and conditions ; and on their non-acceptance or discontinu- ance to use it as above, unto the College ; and on their non-acceptance or discontinuance as before, I give the same to my nephew, William Brattle." Brattle Street Church, however, was not one of those that had any use for organs. It still felt, as expressed in "A request of all true Christians to the honorable Houses of Parliament," 1586,^ that "the service of God is grievously abused by piping with organs, singing, *The writer plays upon the first organ introduced in the oldest Presbyterian church in New York City; but this organ has only been in the church three years. One other case of recent opposition to this so-called " instrument of the devil," came to notice two months ago in Texas, when, an organ having been put in the church after the creation of a great deal of bitter feeling concerning ttie matter, the progressive party were dismayed one morning upon findin nothing left of the instrument but ashes and molten metal just outside the church. tQeneral H. K. Oliver, a descendant of Thos. Brattle, in Boston Transcript, Nov. 10, 1884. ^History of Handel and Haydn Society, Boston, by C. C. Perkins, p. 10. EARLY ORGANS IN AMERICA. 63 ringing and howling out of psalms from one side of the choir to another, with the equaling of chaunting choristers, disguised, as are all the rest, in white surplices, some in corner-caps and filthy capes, imitating the fashion and manner of anti-Christ, the Pope, that man of sin and child of perdition, with his other rabble of miscreants and shavelings." With them " not even a pitch-pipe was allowed." A law was enacted in 1675 prescribing* that no one should play "on any kind of instrument except the drum, the trumpet and the jewsharp." Of all instrumnets, the organ, as being epecially identified with Popery, was the most ab- horred. Brattle Street Church voted, July 24, 1713, "that they did not think it proper to use said organ in the public worship of God." The organ was then offered to King's Chapel (or, it was then called, Queen's Chapel, in honor of Queene Anne), and accepted f A short time after- ward it was brought to the church, but rem.ained unpacked in the church until the following March. In February, 1714, it was voted, "That the church wardens write Col. Redknap " (in London, no doubt) " and desire him to go to see Mr. Edward Eustone, who lives next door to Mr. Mas- ters, on Town Hill, and discourse him on his inclination and ability to come over and be the organist at thirty pounds per annum. This money, which, with other advantages as to Dancing, Musick, etc., will, we doubt not, be sufficient encouragement. Voted, that the Organ be forthwith put up." A tempory organist was appointed and a contribution was raised from sundry well-disposed gentlemen and other persons towards the maintenance and support of the organs, which amounted to between 43 and 44£."t Mr. Edward Eustone was engaged as organist, and entered upon his duties about Christmas, 1714. It is fair to presume that he was a "sober person," and capable of fulfilling the provisions of the legacy as to the skillful pla3ang of the instrument " with a loud noise." No clue as to the builder of this now famous instrument has been found. It is not improbable that it was a specimen of the workmanship of either Father Schmidt, Renasus Harris or Jordan, the inventor of the swell, all of whom were prominent at that time. There were compara- tively few builders, at best, and it is not likely that a man of Mr. Brat- tle's means and position would have bought an instrument unless it was of the best quality and most reliable workmanship. The subseqent his- tory of the organ proved that it possessed both. It was in constant use at King's Chapel until 1756, when a new organ from England took its place. The Brattle organ was sold to St. Paul's Church, Newburyport, where it was used for eighty years. In 1886 it was bought for $450 by St. John's Church, Portsmouth, N. H., for use in their new mission chapel on State street,, and continues in service at that place to this day. *Ibid. tThe following is an extract from the record of the church: "At a naeeting of the Gentlemen of the Church, this 3rd day of August, 1713, Referring the Orgains Giveing them by Thomas Brattle, Esq., Decsd, voted, that this orgin be accepted by the Church." XHistory of King's Chapel, Rev. W. P. Greenwood. 64 MUSIC teachers' national association. At some time prior to leaving Newburyport, probably in 1831, the organ was reconstructed, and put in a new case. For the following des- cription of the present condition of the organ acknowledgement is gratefully made to Mr. Edward A. Tilton, of the Portsmouth Times, a former organ-builder, and organist at St. John's church : "The case is of light-red Honduras mahogany, and measures 4 ft. 5 in. in front, 2 ft. 7 in. in depth, and 8 ft. 9 in. in height. An overhanging cornice is supported at either corner in front on a round pillar, resting upon a square panneled pedestal reaching to the base. Within three arches above the keys are seventeen quaker pipes (wooden dummies) gilded. The key-board slides in out of sight when not in use, and is covered by a fall. On either side of the key-board are three stops : Dul- ciana Principal, Stopped Diapason, Fifteenth Treble, Fifteenth Bass and Sesquialtera Bass manual contains 51 keys, extending from C to d3. The wind-chest, however, is bored for only 49 pipes, the keys C sharp and d on the manuals being stationary. The Stopped Diap., and Fifteenth are genuine originals and run through. The Dulciana and Principal are modern. The Dulciana contains 31 pipes, extending from g, and occupies the upper series of holes formerly belonging to the sesquialtera, the remaining holes being stopped. The Principal, which runs through, is of wood. The wind-chest, slides, valves, top-board, rack-board and rack-board pins are of English oak. The key-board trimmings are of rosewood. On the key-frame is written in pencil, "Mr. Edwards, Portland, Me." There is also the address of an organmaker in Livingston, Me. Upon one of the larger pipes of the Fifteenth are the names of "Joseph E. Pike, 1831," and " E. B. Morse, 1831."* It would seem from this sketch that the organ must have contained originally the following stops : Stop'd Diap. Principal, Fifteenth Treble and Bass, and Sesquialtera Treble and Bass. It is a curious coincidence that the second oldest organ in this coun- try, of which also a considerable portion remains to this day, should have found its resting-place also in Portsmouth, but, in this instance, Ports- mouth, R. I. Such is the case with what is known as the Berkeley organ^ for a long time in Trinity Episcopal Church, Newport. R. I. This has a record even more clear than its predecessor, was made by the celebrated builder, Richard Bridge, of London, and was, no doubt, an excellent instrument for its time. Richard Bridge is distinguished for having built, in 1730, the largest organ in England, viz., the one in Christ Church, Spitalfields, of 33 stops, a specification of which is given in Grove's Dictionary. The Berkeley organ, according to an account written by J.C.Swaun, a Newport musician, who played the organ from 1840-42, was the direct gift from Bishop Berkeley to Trinity Church in 1773. A contrary account, *" The latter name suggests some relation to the Eev. D. Morse, rector of St. Paul 8. Newburyoort. whose son, Richard, was a most excellent church organ builder, the organ in the North Church, Portsmouth, being a highly creditable specimen of his handi- work."— E. A. TiLTON. EARLY ORGANS IN AMERICA, 65 however, is given by Hon. Edward S. Tobey, of Boston, who writes as follows: "I have always understood that the town of Berkeley Mass., was set off from Taunton about the year 1730, and that the name Berke- ley was adopted in honor of Bishop Berkeley, at that time a resident of Newport. In response to this compliment that the Bishop sent from England an organ for the church in Berkeley, and that the church de- clined to receive it, preferring congregational music exclusively. The organ was then given to the old Trinity Church in Newport. My great- grandfather, Samuel Tobey, was the first minister of Berkeley," etc., etc. Dr. Wm. A. Cornell, of Boston, a native of Berkeley, confirms the account of Mr. Tobey, and adds that "the organ was for several years after its arrival in Berkeley deposited in a barnstable,the church of Berke- ley having absolutely declined to receive it." The Berkeley church, it may be remarked, was one of the Colonial Independent class. The account of Mr. Swann, previously referred to, published in the Newport Mercury, March 3, 10, 17, 1883, begins with an extract from the records of Trinity Church, Feb. 27, 1773, in which "The Rev. James Honeyman is directed to draw up a letter of thanks to the Rev. Mr. Dean Berkeley, for his generous present of an organ to this church, and, like- wise, of thanks to Mr. Henry Newman for his care about shipping the same, to be sent to England as soon as conveniently may be." It is difficult to harmonize this portion of the records. The following is Swann's description of the organ : " Its case was of English oak, and of very beautiful design, about 14^ ft. high, 8 ft. front and 8 ft. deep. In its front there were 23 gilded pipes, and its top was ornamented with a crown supported by two mitres. The compass of its manual was from C to d 3, 51 notes.* Its long keys were made of ebony, and the short ones of ivory, with a strip of ebony through the middle of them; and ibe keys of the swell organ were placed below those of the great organ, beginning with middle c. Between the keyboards was the maker's name, Ricardus Bridge, Londini, Fecit, MDCUXXXIIL" The workmanship of the instrument in all its details was of a supe- rior quality, and in tone it was most exceJlent, and would compare favor- ably with any work of the kind done at the present day. Its contents were as follows : Great Organ — Principal 51 pipes. Stopped Diapason " " Open Diapason 50 " Twelfth " " Fifteenth " " Tierce Bass 25 " " Treble " " Flute 50 " *Mr. Swann states 50 notes and 50 pipes, but has either made a miscalculation, or perhaps, the c sharp was missing, and he neglected to mention it. 66 MUSIC teachers' national association. 9 Stops — Trumpet 38 pipes, (8 Complete Registers) 388 " Small Organ — Stopped Diap 27 pipes. Op. " " " Flute " " Trumpet " 4 stops 108 " Total— 18 stops 496 " There was one stop marked "Vox Humana," which was never put in.* With some interruption, this organ was used in the services of the church until 1844, 111 years. In that year Mr. Henry Erben, of New York, reconstructed the interior of the organ, retaining the case and two stops of the Great Organ — the Open Diapason and the Flute — promising that the new organ should have two banks of keys and an octave and a half of pedals, ten of them to be sub-bass, for the sum of $1150. The organ had only one manual, however, besides the pedal, and caused no little dissatisfaction. The rest of the Great Organ of the Berkeley instru- ment, together with an Op. Diap. and Flute, to replace those taken from the other organ, the draw-stops, action and keyboard, with maker's name, were placed in a new pine case, and this organ was set up in the ante- chapel of Grace Church, Brooklyn, where it remained until 1850. It was then bought by Miss Sarah Gibbs for St. Mary's Church, Portsmouth, R. I., where it remains in good condition, and is used on all church occa- sions. In June, 1880, Hook and Hastings, of Boston, took the Trinity Church organ, Newport, with the exception of the case, and placed it, with some improvements, in Kay chapel on Church street. In and around the old Berkeley case in Trinity church they set up a new organ, and high up on its front we still read, "Presented A. D. 1733," and on a panel in the gallery in front of the organ, in quaint letters in gold, on a blue ground, is inscribed, "The gift of Doct. Geo. Berkeley, late Lord Bishop of Cloyne." All that is left of the original is a part of the case, with its crown and mitres, and a part of the front pipes, but they are as silent as the voice of him who gave them. While the honor of possessing the first organs in America belongs undoubtedly to New England, it appears that the honor of building the first organ in this country belongs to New York City. Trinity church. New York, existed in 1697, but not until 1737, when the first church building was enlarged, is any mention to be found made of an organ. In that year an organ was built by Mr. John Clemm, for *June 12, 1769, the vestry voted "to have a new stop put in the organ from London, the Vox Humana, or any other that may be suitable, in place of one wanting or missing." "July 9, 1779, Doct. Edward Evans was elected organist, salary £30 per annum, to commence on his return from London; and he is to bring the new stop for the organ, Vox Humana, or some other necessary addition, for which the church will pay on his • return." He did not return, and the new stop was never added to the ojgan. EARLY ORGANS IN AMERICA. 67 the sum of £520, New York currency, to which the vestry, with their accustomed liberality, added a gratuity of £40." (1) It was a large organ for those days, with three manuals and twenty- six stops, (2) but who Mr. John Clemm was, of what the three manuals and twenty-six stops consisted, etc., etc., we have no information. That the American organ was not a very great success, however, judged by the standards even of that time, seems proven from the fact that twenty- flve years later a new organ, imported from England, took its place, and the American organ was oftered for sale. (3) In 1762 £500 was paid to Oeo. Harrison for the new organ, which, however, was totally destroyed with the church in the great fire of 1777. The church was rebuilt in 1788, and a third instrument put in the church in 1791, imported from England, but no definite information can be obtained of it further than that it is said to have been of no great power/'but"sweet sounding and well adapted to the size of the building." This organ undoubtedly remained in use till the church was taken down in 1839, to be replaced by the present edifice, which was completed in 1846. The organ built for this church by Henry Erben and finished in 1848, under the supervision of Dr. Edward Hodges, organist of the church, is described in Rimbault and Hopkins, and still continues in service.* Let us now return to King's chapel, Boston. The Brattle organ, on its removal in 1756, gave place to one which became almost equally (1) History of Trinity Church (New York), by W. Berrian, p. 56. (2) Dr. MeBsiter in Trinity Record, January, 1890. (3) March 24, 1761, at a meeting of the vestry it was " Resolved, That that there should be allowed by this corporation the sum of £500, current money of New York, towards purchasing a new organ for Trinity church," and it was likewise ordered '-that Mr. Thos. Harrison should be employed as organist for Trinity church, and allowed for his services as such the sum of £18 per quarter, current money of New York, and that his salary should commence from the first Sunday he should begin to play."— History of Trinity Church. W. Berrian. *The items of its cost were as follows: Henry Erben— Organ, per contract $6,300 00 " " Organ case, per contract 2,000 00 " " Extra work on organ case 431 72 " " Loss occasioned by interruption of work 270 00 " " For loss sustained by him on his contract for organ 1,500 00 ^10,501 72 Dr. Edward Hodges, superintending its construction, and other services 750 00 Total cost $11,251 72 The following record of the succession of organists, published in the Church Year Book for 1886, is authentic, according to the present rector, Dr. Morgan Dix: John Clemm, appointed 1741 Organ in new church 1791 John Eice 1744 John Rice, reappointed 1791 Thos. Harrison 1760 "William Miiller 1795 Jas. Leadbetter 1764 Chas. Wilson 1804 John nice* 1765 Peter Erben 1820 Church destroyed by fire. 1777 Edward Hodges 1839 *Served at St. John's chapel during the construction of the new church. MUSIC teachers' national association. famous by reason of its long service and excellent character. It was- made by Adrian Smith,* of London, and is said to have been approved by Handel. It cost £500, and continued in use in the church until 1860, a hundred and four years, when it was reconstructed and enlarged by Simmons and Wilcox, of Boston. The excellence of the Smith organ is proven from the fact that in the new organ the following eleven stops^ were incorporated: In the Oreat, Contra Diap., 16-foot. Std. Diap., 8-foot. Twelfth. Fifteenth. Mixture. Swell, Op. Diap., 8-foot. Trumpet, 8-foot. Clarion, 4-foot. Mixture. Choir Std. Diap., 8-foot. Flute d' amour, 4-foot. The old case, made in London, was also retained, and this organ, including the eleven stops from the year 1755, was in use till 1884, when a Hook organ took its place, just one remove from the Brattle organ. Another historic Episcopal church in Bosk)n, Christ church, famous for having been Paul Revere's signal station, is said to have received an organ brought up from Newport, R. I., in 1736, f three years after the Berkeley organ, and probably the third organ in the country. In 1752 Thos. Johnston, of Boston, built an organ for Christ church, which is commonly supposed to have been the first organ built in America, the Clemm organ in Trinity church, New York, not being gen- erally known. The Johnston organ was reconstructed, in its interior, by Goodrich, in 1834, though just to what extent it is hard to say. With this modification it continued in service — until a few years ago — about a hundred and thirty years, when Hutchins, of Boston, incorporated a considerable portion of it in a new organ for the same church. The long and useful career of this organ makes it a most notable instrument. In 1745, Edward Bromfield, born 1723, entered Harvard College 1738, was engaged in building a two-manual organ for the old South church, in Boston, to contain 1,200 pipes, but his death in 1746 prevented its completion. In 1743, an organ built by J. Clarke, of London, and purchased by subscription, was imported and set up in St. Peter's Episcopal church, Salem. In 1754 it gave way to one by Thos. Johnston, the American Father Schmidt, of one manual and six stops. Messrs. Hook and Hast- ings have in their possession a portion of this early specimen of home manufacture, including the name-board, on which is inscribed in Ger- ♦HiBtory of American Episcopal Church. — Bishop Perry. +History of the Handel and Haydn Society, Boston.— C. C. Perkins. EARLY ORGANS IN AMERICA. 69 man text, executed in ivory, ' ' Thomas Johnston fecit, Boston, Nov. Anglorum, 1754." The old London organ was presented to St. Michael's Episcopal church, in Marblehead. Among the celebrated builders mentioned in Rimbault and Hopkins, is the name of Snetzler, who was one of the followers of Father Schmidt, from Germany. Christ church, in Cambridge, contained an organ by- John Snetzler in 1761,* the metal pipes of which were appropriated by the patriot troops of the Revolution and converted into bullets. In 1790 the old Brattle Street church in Boston capitulated to the organ party, being the first Independent church in America to admit an organ, f So great was the opposition, however, that when the vessel con- taining the organ arrived below in the harbor, a wealthy gentleman of the parish, who had refused to subscribe towards it, offered to pay into the treasury of the church, for the benefit of the poor, the whole cost of the organ and freight, if it might be thrown overboard below the light- house. ^ As the minister himself. Rev. Dr. Thatcher, was luckily an advanced thinker on the subject of music, and in favor of the organ, he refused to be bought off by his wealthy parishioner. This organ was the work of an English builder of the name of Green, § probably Samuel Green, who ranked very high, and was much patronized by King George III. The organ cost £400, and was used until the church was taken down in 1872. The year of its advent, 1790, marks the first instance of the enclosing of a Great organ in the Swell by the same builders, in the case of St. George's chapel organ, Windsor, and also the first use of pedals, in connection with the manuals, in an organ for St. James' church, Clerkenwell, England, built by G. P. England. A specimen of the organs by this builder found its way to this country in 1802, in St. Paul's chapel. Trinity parish. New York. Much of it still remains in the present organ, rebuilt by Odell in 1870. At Salem, Mass., was an Avery organ, built in 1800. Avery was even more celebrated than Green. The dates on his organs range between 1775 and 1808. He was the first to use pedals with separate pipes, having applied a set with wood pipes to the organ in Westminster Abbey in 1793. Such is the record of the more important early organs in America up to the beginning of the present century. With one notable exception, the organs were all in Episcopal churches, and for the most part English organs. Of these it is interesting to note that many are by celebrated builders mentioned in Rimbault and Hopkins, the American copies of which may well receive numerous annotations. In presenting these accounts as a preliminary step to the history of organ building in Amer- ica, we are reminded of what is expressed by John W. Moore, in the preface to his Encyclopaedia of 1854. " It is impossible," he says, "that *Dwiglit'8 Journal ©£ Music, vol. xiz., p. 262. tHistory of Brattle Street Church.— Rev. Sarauel K. Lothrop. XThe Organ Manual.— Rev. Henry D. Nicholson. § The Organ ifanwaZ.— Nicholson. 70 MUSIC teachers' national association. American music can do more than reproduce the music of other ages and nations. We are too open to the world, too receptive of all influences from abroad, too much a nation made up of others, to possess a music of our own." "We are for a longtime yet to remain in the position of learners." These remarks concerning music in general may be applied with special truth to the development of American organ-building seventy years ago. AMERICAN COMPOSERS. BY FREDERIC GRANT GLEASON, CHICAGO. Mr, President, Ladies and Oentlemen: The subject which your com- mittee has chosen for me to speak upon this morning is that of American composers and composition, and, as I have already given expression from time to time in the Chicago Tribune to some of my views upon these sub- jects, any similarity of diction which may be noticed is thereby ac- counted for. In order to avoid the necessity for continuous qualification, let me say distinctly at the outset that I include under the general designation of Amsrican composers those who, even though of foreign birth, have made themselves one with us, in thought, feeling and sympathy, while under the term "foreigners" I intend to designate those who, though living among us, are not of us and do not share our hopes and aspirations for the musical future of this country. It is not so many years since the American composer was a thing despised, and this, to a great extent, because of the attitude of those for- eign-born musicians whose necessities or inclinations brought them to these hospitable shores. It was, perhaps, natural for these gentlemen, with the traditions of centuries of musical culture behind them, the re- sult of the labor of a few choice spirits belonging to the same nation as themselves, to look down a little upon those whose ancestors were too busy reclaiming land from the virgin forests of the new world to give any time 01 thought to the development of a musical art culture ; but those conditions of life have passed away, and the descendants of those pio- neers have taken up musical work with the same ardor and certainty of success that characterized their fathers when engaged in the struggle for existence in the wildernesses of the new world. The scepter of suprema- cy in tie world of music has already transferred itself from the Flemish to the Italians, from these again to the Germans, and it does not require any prophetic powers to see that another transfer is certain to be made in the future, and this time to America, which has for many years been silently preparing for the mission devolving upon her. The amalgamation of manj people and nations into one. through intermixture of blood, is slow'y but surely producing an entirely distinct type of humanity, a race whose intellectual and intuitional powers are destined to far surpass those of any European nation. The works of the great minds of the past will, of course, remain as monuments of what individuals have ac- complished, — as the works of Palestrina remain the real glory of Italian ar£— and those of Bach, Beethoven and Wagner will stand as the pride of German musical art so long, in all probability, as the German people 73 MUSIC teachers' national association. sliall continue to exist as a nation. But the utter foolishness of the sup- position that the works of these masters, great as they were, brought the history of music to a close, will be evident to any one familiar with the story of the past. A great deal has been said concerning a new and distinctively Amer- ican school of music, — as though that was of the very highest import- ance, — that we should be able to point out in the writing of our native musicians peculiarities which distinguish their work from that produced by natives of any other country. To my mind, this is a matter of little or no importance, at least at present. It may be said of an American school of composition, that, like the Kingdom of Heaven, it "cometh not with observation." It is not at all necessary that the American composer shouljd con- sciously strive to write in a style which should be characterized as 'Amer- ican " in the sense of differing from the recognized peculiarities to be found in the works of writers belonging to other nationalities. It i^iW be quite sufficient for the present if he possesses ideas, with the scholarship required to express them in accordance with the best standards o^ exist- ing models — that is, with the technical knowledge required to placb what he has to say in the best possible light before his hearers, regar(iless of whether the work possesses a distinctively national character or sjiggests what a well-schooled German or other composer might be presumed to do with the same thoughts. As there has not yet been developed an|Ameri- can school of composition, and there is no style of writing to wljich the name American can be properly applied by way of distinction, there are no standards to be offered other than those of good taste, and the ques- tion of the formation of an American school may safely, as it ndust be necessarily, left to the future. No amount of anxious thought and conscious search after originality will make a National school of writing, yet, if every American composer does simply the best that is in him, it will not, perhaps, be so veil^ long in making its appearance. The American student — the composer bf the future — needs first of all to be thoroughly acquainted with the riaster- works of the great writers of the past; to familiarize himself with the best musical thought of epoch making geniuses, until the various Retails of constructive science, both harmonic, melodic and formal, have become easy for him to handle. When this is done he is ready to clotbe hislideas in a fitting garb, and possesses the power of artistic discriminatiln, in choosing the most appropriate methods of treatment for his thou*ghts. In writing for an orchestra he encounters a new difficulty — wait of familiarity with the sound of different instruments and the variatioi^s of each in different portions of its compass, as well as the technic of e^ch in matters of execution. For the study of tone quality, orchestral (bn- certs, such as are to be had in almost any of our large cities, maybe made available. By listening intently, the tone quality of the vari(Ws instruments may be recognized, at first singly, but by degrees in coml^i- nation with others, until in time even the more intricate combinatioi\s AMERICAN COMPOSERS. 73 can he analyzed with at least tolerable accuracy when first lieard. An excellent way to supplement this study, and one which I found of the greatest value in my own experience, is to select some orchestral work which is sure to be frequently played, and study the score until it is thorougly familiar, endeavoring to form as perfect a conception as pos- sible of the effect of each passage. When the ability to hear from the written page is obtained and one's conception of how each passage ought to hound can be quickly recalled, attend a performance of the work chosen and, score in hand, compare the impressions with the reality. At first there will be much to correct, but this correction is the best of study. After a first hearing take every opportunity of repeating the comparison, in the meantime preparing another work in a similar man- ner. By degrees the power of forming a correct conception from the score will be acquired, and likewise the ability to place one's own ideas upon paper. As regards the technic of the instruments, much may be learned from critically observing their treatment in the scores chosen for study, which are at least likely to be standard works. Much may be learned from books upon instrumentation, though there is at present a great lack of works which treat of tlie modern orchestra in a clear and comprehensive manner. To illustrate my meaning clearly I will refer to the treatise upon instrumentation by Hector Berlioz, one of the great- est masters of instrumentation who ever lived. The examples which he gives in score are well chosen and in every way admirable. Yet the conditions are so different at the present day, especially in this country, that his statements cannot always serve as a guide to the student. To cite a single example, he gives great prominence to a table of the so- called "natural" horns in various keys, according to the old methods of employing them, and, though speaking also of the valve-horn, devotes most of his remarks to the others as those most commonly used. But in the orchestra of to-day the composer has only one kind of horn available — that keyed in F. As this is a valve Jiorii it has practically all the chro- matic tones at easy command of the player, provided only that too rapid changes are not required of him. The player of to-day uses this horn exclusively, transposing whatever may be written for horns in other keys. This of course requires an expenditure of extra brain power, and the player is not always as sure as he would be if such transposition were not demanded of him. Thus the novice, following the impressions received from Berlioz would be likely to write more or less unskillfuHy for the horns, besides treating them in a manner quite different from the modern practice. The best way of all, as I can testify from experience, is to study each of the more important instruments sufficiently to obtain at least a general idea of its technic and difficulties. In the course of such study one may also obtain an excellent idea of its tone-color. Any great degree of facility is not required — it will be enough to obtain a knowledge of the system of fingering and the way to produce the differ- ent tones of its scale, and | this does not require such an extraordinary outlay of either time or patience. The determined student will in every 74 MUSIC teachers' national association. case find a way to learn instrumentation either with or without a teacher, though it cannot be denied that the aid of a competent instructor will be of great value in smoothing the way to a mastery of this difficult art. It might naturally be assumed that the choral societies of this coun- try, with a membership consisting largely of Americans, would be found foremost in the work of fostering American art, but such has unfortu- nately, but seldom been the fact In the case of ons prominent organiza- tion, and I believe of many others, a practice prevails of looking to Eng- land for nearly every new work which it produces, and it scarcely can be induced to present an American work of any magnitude to its public. When Arthur Sullivan wrote his "Golden Legend," it was produced iwith alacrity — unmindful of the fact that Dudley Buck had written a far bet- ter one. The attitude of the management of the club to which I refer has been distinctly unfavorable to American composers for years past, and in this respect does not stand alone. The Worcester (Mass.) Festival management affords another example of unfriendliness towards Ameri- can composers, though its attitude toward them has changed somewhat of late. Thus, those whose place it was to foster American talent, have failed in their manifest duty toward their countrymen, Foreign works have almost invariably been given the preference over native ones— -even when the latter were the best, Under such circumstances it is not in the least surprising that the American composer was looked upon with dis- trust by those who, having no critical judgment of their own, imitated the attitude of others who occupied positions of prominence in the mu- sical world, and faithfully echoed the opinions of those critics of foreign birth who were totally unable to see anything of good in any work which did not come from a writer of their own nationality. Let it be distinctly understood, that by no means all the writers for the press, who are of foreign birth or parentage are included in this condemnation: on the contrary there are those who have shown their sympathy with American art, and while not abating one iota their unswerving fidelity to a high ideal, or to their duty, — that of guiding and moulding public opinion in accordance with those ideals, have yet manifested their friendly feel- ing. Toward his brother composers, from whatever nationality they may have sprung, I feel sure that the American composer has none but the kindliest feelings — and for myself at least I can say that some of my most valued friends did not first see the light within the boundaries of the United States. But for the foreigner who comes to these shores for the sole purpose of gathering American dollars, remaining foreign in every thought and feeling, besides showing upon all possible occasions his disdain for Amer- ican writers, vocalists and instrumentalists, there should be no sentiment but contempt. Such examples are familiar to all of us. Something after this sort, at least so far as retaining his foreign prejudices is concerned, was an orchestral leader who for some years labored in this country. Brought from Germany and placed at the head of an orchestra supported by the princely donations of an American citizen,— given entire authority AMERICAN COMPOSERS. 75 regarding the choice of works to be presented, — he did nothing for American art during the early years of his reign, nor did he acknowledge the claim of any American composer to a hearing until the latter part of his stay in this country, though there lived in the city where he swayed the destines of one of the finest orchestras in the world, several composers whose works were entitled to a place by the side of the best writing of the present time. In fact it would scarcely be an exaggeration to say that during the first years of his incumbency he was not conscious that such a being as an American composer existed and there are others — occupying high positions — who are equally ignorant in this respect. Even his tardy recognition of American writers, is perhaps to be ascribed to the pressure of public opinion, rather than any real appreciation, or sympathy with American endeavor in this direction. In short he left this country at last, (as far as can be judged) with the same tendencies,^ feelings and prejudices which he brought with him from the old world. Such a man has no proper place among our people. Contrast with his attitude that of Anton Seidl, who speedly declared his intention of mak- ing America his permanent home, by applying for naturalization papers,^ and has taken up the cause of the American composer in his Brighton Beach concerts of last year, and this in no uncertain way, but, possess- ing the courage of his convictions, made known his attitude toward American art in a few honest and earnest words spoken last season be- fore those concerts began. But in this connection our own Theodore Thomas should not be overlooked. Though born in Germany he has long been one with us. His self-sacrificing work for years, devoted to leading the American people to an appreciation of what is best and greatest in musical art, was carried on with an unswerving determina- tion, in spite of the pecuniary losses and obstacles which few are in a position to estimate, and which would have appalled and crushed a less resolute will. And the fruit of his labors is seen throughout this country to-day. Except for his work in the past, in creating and supplying a demand for good music where none existed before, it is doubtful if the Boston Symphony Orchestra could afford to travel through the country —and equally doubtful if New York would to-day possess the Metropoli- tan 'operatic establishment. Theodore Thomas has been charged with being inimical to American music and unwilling to play works by American composers, but such is not the case. There is not an American composer of orchestral music, of any note, whose name has not figured upon his programs in past years — sometimes before any other conductor would look at his works. Mr. Thomas has always shown himself ready and willing to produce any American work which showed real merit, and the complaints, in many cases, come from those whose works are not worthy. I recall one cir- cumstance which occurred many years ago, which may serve as an illus- tration. A score by one of those aggrieved authors was sent to me for examination, with a request for an opinion as to its merit, and with the statement that the composer felt that he had been unjustly treated by 76 MUSIC TEACHEES' NATIONAL ASSOCIATION. Mr. Thomas, the intention evidently being to obtain the endorsement of as many musicians as possible, and then make the matter public as a case of gross injustice. Upon the first page I found parkllel fifths of the worst description — and between the trombones at that. A little further on, there were notes written which did not exist in the instruments to which they were assigned. My opinion was brief but expressive. The work which the M. T. N. A. has been doing for American music is indeed a noble one, and its present endeavor to secure an orchestral and choral fund to enable it to continue its good work without being obliged to call for outside assistance, as is now the case, is deserving of the warmest support from everyone who has at heart the interests of music in this country, and especially of native endeavor. It has been the policy of the Association, ever since it had a distinct policy, to foster the creative powers of American musicians and equally those of foreign- ers who identified themselves with this country and its future. There- fore do we speak of "American and resident" composers, the latter term including all who have become at heart identified with us, no matter what country gave them birth. The American movement in music may be said to have begun with a piano recital given by our honored ex-president, Calixa Lavallee, at the Cleveland meeting of the Association. This recital was devoted entirely to works by American composers, and was undertaken at the request of Mr. E. M. Bowman, at that time filling his second term as President of the Association. Though something had already been done by others at different times, in the way of affording a hearing to American com- posers, it does not appear that the work had been undertaken in any defi- nite way or upon so large a scale as that, even. As from the hour of this recital we have to date the origin of a distinct and determined movement for the recognition of native talent, and as the recital itself was planned by Mr. Bowman and undertaken in response to his solicitation, it would appear that he is fully entitled to be called the Father of the American. Movement. Great credit is due to Mr. Lavallee for the willingness with which he entered Into the plan and for the ardor manifested in its carry- ing out. A recital of American compositions is not such an unusual thing at present, but at that time it cost something of self-abnegation to under- take it— even as it cost something to be a Christian in the days of the persecuting Roman Emperors. And the fact that our brother was born elsewhere than in the United States does not alter our affectionate regard for him, for he is, notwithstanding, an " American of Americans !" It would be manifestly improper to pass over, without acknowledgment, the labors in the same cause of Mr. Frank van der Stucken, who, in spite of the foreign sound of his name, is of American birth. His American Fes- tival, in Chickering Hall, New York, some years ago, and his more recent concerts in Paris, during the great Exposition, are too fresh in remem- brance to require more than bare mention ; but prior to the earliest of these undertakings he had become known as an earnest worker in the AMERICAN COMPOSERS. 7T same direction. Of late years "American concerts " have- become matter* of frequent occurrence, and give abundant evidence of the power lying behind the movement, which leads individuals in many different sections of the country to arrange such concerts. But the movement is, even yet, only in its infancy, and the help of many willing hands will be re- quired to carry it to a culmination when the American composer shall be judged as generously as the writers of other countries are judged hj their own people. The time is not yet, though it is rapidly approaching. Ability as a composer of music would, strange to say, even yet be more willingly conceded by the great mass of the American people in the case of a foreigner than of an American, for there is probably no country ia the world where the general public is less willing to acknowledge merit in native-born composers than this. If an unknown writer be brought to the notice of either German, French or Italian people, through the public performance of a musical work, the hearers are prepared to accept what he has produced, upon its merits, and if found worthy he is at once enrolled among the composers of the nation. And in the case of a foreign work, or one bearing a foreign name — presented to the Ameri- can public — the presumption is always in its favor, because of the great works produced in the past by composers of that nationality. The pub- lic is prepared to receive it as a composition of importance. With an American work the presumption is quite different, and is', in the majori- ty of cases at least, against it from the start. It is a surprise when a for- eign work proves to be of little interest or value, and even more of one when an American composition proves to be of real worth and signifi- cance. In one case a success is in accordance with the expectations of the general public ; — in the other, the public has to be convinced, as it were, against its will, which is hy no means an easy task to set the composer. And this is not, as might perhaps be inferred, due to the difference be- tween the writings of American and foreign composers, but largely be- cause, years ago, there were no native composers whose work could com- pare favorably with that produced by writers of other nationalities, and Americans became accustomed to look for their supply of music to other nations which had produced men of great genius. The work of. these great musical minds in the past has produced a sort of presumption of merit in the case of every other and more recent composer of the same nationality, and at the same time the effect of this attitude of mind has been to discredit the work of native Americans. This prejudice has been slowly passing away of late years, owing in a large measure to the labors of E. A. McDowell, Dudley Buck, George W. Chadwick, Arthur Foote, J. K. Paine and others. The works of these men, had they been heard in any foreign country, as productions of natives of that country, would have been received with far warmer appreciation than has been granted them here, and the sentiment of a foreign public would have ac- corded their authors a much higher rank among composers than ha& yet been assigned them by their own countrymen. In not a few cases the American composer secures, abroad, successes which are denied him on 78 MUSIC teachers' national association. this side of the Atlantic, and when Americans learn to properly appre- ciate their own writers, their importance will be correspondingly en- hanced in the eyes of other nations. All that the American composer ought to ask, is that his work may be judged intelligently, according . to its merits, without either favor or prejudice — a requirement which, strange to say, is much more freqently fulfilled abroad than at home. American brains, directed by energy and will, have made themselves felt, and secured acknowledgment in all departments of art and science, though less so in music than in any other form of art, but with everyday added to the life of this youthful nation, native writers are, by means of their excellent achievement, forcing the world to acknowledge them as worthy laborers in the vineyard, and if America has thus far produced no writers entitled to rank with some of the greatest composers of the past, there are yet several whose merits entitle them to stand among the great ones of the present day. It is, after all, only a question of time when America will possess composers in no respect inferior to the greatest, and the work of the native writers of to- day aids in smoothing the path for the future genius, who will surely be born sooner or later. ORCHESTRAL COMPOSITION. BY JOHANN H. BECK, OF CLEVELAND. Mr. President, Ladies and Oentlemen: In surveying the field designated by the term ''composition/' I found it to be of such extent that an intelligent and satisfactory treat- ment within the limits of one short essay was impossible. I prefer, therefore, to take up a single branch, and shall confine my remarks to the domain of orchestral composition, rather than run the risk of making desultory and illogical statements on a subject which demands such minute and critical treatment as the general term "composition'' would call for. Originally, instrumental music was evolved from song music, and was nothing more than a transcription of the voice parts for the corre- sponding instruments. The next step in the development was composi- tion for the instruments themselves ; but still they were treated as voices and the musical form remained the same. This style, owing to the many-sided technic and greater compass of the instruments, gradually assumed those characteristics which astonish us in the works of Bach and Handel. For, although Bach displays a keen perception of the sesthetical characteristics of the single instruments and of their technical possibilities at his time, and although he has never been surpassed in versatility of conception in these respects (as the various violin, flute, oboe, horn and 'cello solos to be found in his numerous works suffi- ciently attest), yet, in his scores we find combinations (such as three oboes, three trumpets against a weak proportion of strings, and low- lying contrapuntally developed oboe parts) which, in the ensemble, have a very peculiar and unsatisfactory effect for the modern ear. On the other hand some of his nuances for the horn are of surpass- ing beauty, and have never been imitated, much less equaled, by the masters who came after him. Handel's orchestration is often so sketchy and superficial, that Mozart was induced to rescore his greatest work — " The Messiah." Gluck, who from a dramatic standpoint is equally as great an indi- vidualizer as Bach, is much more nearly related to our conception of sonority than either Bach or Handel. Only in his peculiar doublings of the major third and leading tone, does he at times grate upon modern ears. Haydn, with a fine intuitive perception of true genius, built up his scores with a keen appreciation of the position and a quick ear for the combined effect of the different instruments for which he wrote. Indeed 80 MUSIC teachers' national association. with him orchestral scoring, in our modern sense, first began. His healthful manhood, his childlike simplicity, his jovial cheerfulness, his contagious humor, are reflected in his scores as the sky is reflected in the bosom of the earth-embracing ocean. But what elevates Haydn to the proud position of "father of mod- ern instrumental music," is the fact that he created a special form for instrumental, entirely distinct from vocal forms and based upon the inner requirements and necessities of the various individualities of the orchestra. Mozart is the man, however, who evolved the typical orchestra. His orchestra is capable of universal expression. Each and every instrument has its allotted task to perform in expressing the general idea. The quaint passage for flutes, oboes, clarionets, horns and fagotts in the *' Zauberflote" overture, the stony inflexibility of the trombones in the last act of "Don Juan," have lost none of their genial freshness nor terrible originality after the lapse of nearly a century of intense musical activity. Form and orchestration have developed enormously since Haydn's and Mozart's time, but the foundation given by them has sustained no radical change, and probably never will. 1 think all musicians agree that in Beethoven the idea and its expres- sion form a perfect equation. No composer ever lived who had such ideas to express as he did. One has only to open a score of his and turn to the " Durchf iihrung Satz" to become cognizant of that fact. Out of deep brooding chaos gradually arise gigantic forms, such as it hath been vouchsafed to no other musician to conjure up. If we study his scores attentively they begin after a while to assume a distinct physiognomy, even to the eye; as one reads one sees, as in a vision, the enthusiastic face of the young Beethoven glowing through the lines, or the more reverend countenance of the grave and mature artist who has embodied the whole of his life in his art and has become the great and forgiving and patient Beethoven of the last period, ready to lay down his pen and rest. From the scores of his first symphony and the ballet music to " Pro- metheus," with their oft-recurring reminiscences of and avowed alle- giance to Haydn and Mozart, onward through the "Egmont" music and the fifth symphony, with their perfect equality of thought and expression, to the mass in D and the ninth symphony, with their gigantic climaxes of feeling and prophetic forebodings, what a journey ! If I were asked which piece of purely instrumental music I consid- ered as typical of our entire musical era, I should unhesitatingly answer, " the first movement of the ninth symphony." How interesting to note the advance which Beethoven made in the breadth and freedom of his phrasing! How the great underlying princi- ple of all his technical applications in practice was a superb confidence in the common rhythmic perception of mankind, and his works, which, to the august critics of his own time, seemed a mass of license, irregu- ORCHESTRAL COMPOSITION. 81 larity and lawless anomaly, are, when approached from the direction of the great common rhythmic sense of humanity, most eloquent music. I cannot pause here without a remark on the latter quartets. Of course, to the young student they must be mostly dark, but to the older soul they are as the light itself; and it may be fairly said that one's love and reverence for them may be taken as a gauge of the exaltation of one's growth. The higher and sweeter we are, the deeper is our private glory in these wonderful hymns. Beethoven in orchestral grouping as well as in musical form modified the typical by the sestherical. The more he developed his style the more do his scores show a marked difference from those of his illustrious predecessors, and the coloristic element acquires an ever-growing signifi- cance. After Beethoven, Weber made the most decided advances in the do- main of tone color. No composer has ever understood the heroic valor of the trumpet, the golden romance of the horn, the virginal purity of the clarinet, the sacerdotal seriousness of .the trombone better than Carl Maria von Weber. The adagio of the "Oberon" overture is from begin- ning to end a succession of the most wonderful '"Klangtints," such as, despite Beethoven, until then no mortal ear had ever heard. First the call of the horn, interrupted by the sweet magical tones of the strings; then the downward rustling of the flutes and clarinets, the pianissimo of the brasses, the elegiac use of the 'cello accompanied by the low notes of the clarinet; in short, up to the fortissimo stroke of the entire orchestra it is a rapture of the purest tone intoxication. In reading over his (Weber's) scores I met with the germs of so many of Wagner's later developments that Weber appears as the great teacher, not of Wagner alone, but of the entire school of German romanticists. The divided violins, the strident basses of the "Euryanthe" overture; the enchanted splendor of the "Meermadchen" music in " 'Oberon," the horn quartet, the ghastly pizzicato of the basses, the festering low tones of the clarinet, the diabolical piccolo, the unholy "Wolfschlucht" music in "Der Freischutz;" I find re-appearing in the "Tannhauser," and "Loh- engrin," "Tristan," "Seigfried," "Die Meistersinger" and "Gotterdam- merung," in a somewhat more gorgeous dress. Both men have the same old German reverence for the deep quiet of the primeval forest, the same predilection for the dwarfs, elves, kobolds, mermaids, sandmanchen and giants of Teutonic mythology. Both have depicted in glowing, fervent tones the chivalrous grace of knighthood, the innocent grace of virginity, the fine frenzy of the poet, the portly dignity of sturdy burgherdom, the stolid humor of the clown, in short the varied and motley procession of mankind, with its strange admixture of the ideal and the animal, and the noble and the base. Years ago Hector Berlioz remarked that the art of orchestration had arrived at the point of exaggeration. Now it is a well known fact (at least to musicians,) that nowhere in the domain of music is there such scope allowed for the unbounded caprice of the imagination, as in orches- 83 MUSIC teachers' national association. tral composition. Why, then, should we claim that because orchestra- tion has undergone the same change with Wagner and since Beethoven, which it did with Beethoven and since Mozart, that we arie retro- grading ? Technical rules are the common property of all musicians of average educated intelligence but in the great artist it is besides these the delicate sensibility and vibrating sympathy, the inner and involuntary reproduc- tion of things, the sudden and original comprehending of their dominant character, with the spontaneous generation of all surrouding harmonies, which determine the complexion of his score. We must take what the great artist gives us, remembering that no art is dead so long as it con- tinues to conjure up, to reproduce new sensations. The mode and man- ner of harmonic construction and the part taken therein by the indi- vidual instruments have struck out into new paths, and I firmly believe that in this direction some marvelous achievements are on the eve of being accomplished. I can still recall the time when I first heard a piece of modern scor- ing. It was at a concert, the program of which was made up mainly from the works of tl?e older masters. Near the close the orchestra gave Weber's "Invitation to Dacce," orchestrated by Berlioz. I remem- ber my surprise at the change which seemed to have taken place in the volume and quality of tone produced by the same orchestra. It appeared as though the same had been greatly increased numerically, and combi- nations as odd and strange a«5 they were new and venturesome continually assailed my ear. Indeed, the same instruments which a moment be- fore had ravished my ear with their own peculiar quality and tone color, now seemed to be substantially changed and to speak in totally different accents. The general effect of the whole was confusing to pae; there ap- peared to be so many new voices added to the orchestra that the result was at first really unpleeaant. The preceding number (a Haydn sym- phonj^) had completely charmed me by its bouyant and childlike sim- plicity, containing, as it seemed to me. all that ear and mind required for perfect enjoyment; and now came this nervous, highly wrought, sug- gestive score of Berlioz's, with its coquetting violins, voluptuous harps- dazzling flutter and amorous 'cellos, and all seeming to move simultan- eously in such thick and varied procession that, I repeat, it disturbed and annoyed me. In seeking for the cause of this feeling, I found that it was not so much a change in the orchestra, as my inability to assimilate at once and for the first time all these new relationships of sounds and instruments, which the marvelously prodigious faculty of Burlioz had evolved from the comparatively simple piano score of Weber. It was the same experience repeated when I first heard in the Stadt- theater at Leipsic a music drama of Wagner. I was struck by the appar- ent lack of virility in the double brasses and the general thinness of the strings. The aggressive attitude of the brasses also made an unpleasant impression upon my auditory nerve, and it was only after repeated 0RCHE8TBAL COMPOSITION. 83 liearings and frequent perusals of his scores that I became convinced of the fitness of what "Wagner wished to say and the meane he took to say it. The idea was obtained, even among experienced professional musi- cians, that in the modern viz., the Wagnerian handling of the orchestra, the peaceful domain of the strings are encroached upon by belligerent members of the brass family. While this may be in a measure true in cases where the idea demanded it, the old axiom still holds good, for the building up of a modern score rests as much on the universal supremacy of the strings as it ever did before. Owing to the freer use of sept and none chords a corresponding freer leading of the voice has taken place; the composer now writes for the orchestra with the freedom which it allows and demands, and no longer confinesi his orchestral combinations to the meagre and one sided technic of the piano. The two greatest masters of modern orchestration — Berlioz and Wagner — were not pian- ists, yet they both succeeded in writing some fairly good orchestral works. This disproves the assertion of some musicians who claim that an essential quality of a logical score is its possibility of l>eing reduced for the piano. At the present time we must distinguish between three schools of or- chestral writers. Firstly — Those who copy the typical orchestra developed by Beeth- oven and his immediate successors. Although this class consists princip- ally of composers of medium talent, still we find among them the names of real masters. The aim of this class of writers is appropriateness in the expression of the musical idea according to the accepted classical standard, and their works have the flavor of having been arranged rather than composed for the orchestra. The musicians who represent this class are legion, and they occupy the principal posts in the great musical insti- tutions of Europe and America. They form the great conservative party in musical politics, and. as a rule, are averse to musical free trade. They hold by the letter of the law, etc. Secondly — On the same typical orchestra of Beeehoven another school has grafted itself. This class, armed with the most thorough technical knowledge of the orchestra and its individual members, searches, experi- ment with new combinations and tone fusions, striving thereby to ex- press certain psychological states and aptitudes. I term it the learned or virtuoso school. Its chief experiments are Berlioz and Liszt, and it forms- the great progressive party in musical politics, and decidedly favors free trade. Thirdly — The self-creative, the genial school also has its root in the Beethoven orchestra. It manifests itself by a most decided inclination toward the collective spiritual individualities of the orchestra, and is uni- versal in the process of its creations. This class finds in the orchestra the vehicle, the body of its artistic soul, and, as body and soul, a unit, creates orchestral pictures which manifest the infinitely various phases of soul-life, and could not be expressed by any other medium. This school 84 MUSIC TEACHEES NATIONAL ASSOCIATION. is represented by the colossus Wagner. The Vorspiele to "Lohengrin/' "Tristan " and " Die Meistersinger the death scenes of " Isolde " and "Siegfried ;" the song of the " Rheintochter," " The Magic Fire Scene'' and " Klingsor's Rose Garden " will explain what is meant by this school of orchestral writers. It belongs to no party, for there are never repre- sentatives enough in the world at one and the same time to form a party, but its deeds are written in letters of fire on the clouds of heaven ; its voice, hoarse breathing the spirit of wrath, of soft whispering the genius- of peace, sounds adown through all the ages, and those who will may see and hear. For familiar and simple as music or singing ordinarily seems to be,, it is, if we analyze it, one of the most wonderful phenomena. The wild- est imagination is totally incompetent to conceive of what happens when we listen to a choral symphony. The lowest tone which the ear perceives is due to about thirty vibrations per second, the highest to about four thousand. Consider, then, what happens in a quick movement when hundreds of voices and instruments are simultaneously producing waves of elastic air, each wave crossing the other, not only like the surface waves of the water, but like spherical bodies, and, it would seem, with- out any perceptible disturbance; reflect that each tone produced is accom- panied by secondary tones, numbering half a score ; that each instru- ment has its peculiar tone- color, due to these secondary vibrations, and finally let us remember that all this crossing and re-crossing of air wave, to which the most tempestuous sea would be comparatively calm ; this clashing of the various overtones; this chaos of enormous sounds, this momentary but terrific struggle until what we call a musical chord is born, is moderated by laws which determine what we call harmony and by certain conditions or habits which determine what we call melody— that all this must be reflected like a microscopic photograph on the two small organs of hearing and there not only excite a sensation or percep- tion, but sensation followed by a new feeling even more mysterious^ which we term either pleasure or pain, and it will be clear that we are surrounded on all sides by miracles far surpassing all that we habitually term such, and which yet disclose to the eye of the man of genius laws which admit of the most minute mathematical determination. MUSICAL COMPOSITION IN AMERICA. BY C. L. CAPEN, BOSTON, MASS. (Read by W. L. Blumenschein.) Fellow- Musicians: One of our most gifted American composers, a fluent, able contra- puntist, a fijraduate of that splendid school of Rheinberger, in Munich, is reported to have said: "Yes, I have mastered counterpoint, but in musical composition I intend to make as little use of it as possible." A trite, a wise avowal, this. It more than hints at the deepest concern for knowledge; for knowledge of one's self — this, the highest finite knowl- edge; and even this, not for its own sake, but with the man-artist's inde- pendence of any such sine qua non of mediocrity as artificial means. If we would save counterpoint from becoming one of the lost arts, let us bear in mind that even John Sebastian Bach was great by depth and grandeur. He wrote his counterpoint as he loved; even as he breathed in art's own atmosphere. Even Bach made as little use of fugues as possible; and yet with all his heart and soul he made the most of them. How wondrous, how pure-hearted and even God-given, is almost any specimen of Mozart's counterpoint. Well may we learn from it that even when moving in the very grooves of science he alone is master who can best conceal their presence. Leaving this branch of our subject but for a moment, let us, in the meanwhile, tarry with the masters in their praise of melody; let us learn from earnest, deeply meditative musicians in their calmest moments how the value of an art work consists, not so much in the skill that attends it, but in what it says to us. "Melody is the one, the only form of music," says Wagner, the Preacher, in the seventh volume of his literary works. "No music," he adds, "is conceivable without melody, and both are absolutely insep- arable." RafE, on the Wagner question, avows that " melody alone constitutes the essence of all music." Ambrose, in his " Culturhistorische Bilder," calls it "the gift of heaven, which the savage, the mountain shepherd, the rustic piper alike find spontaneously." A. B. Marx refers to it as the "life-blood of music," while E. T. A. Hoffmann, in his "Kreislerianna," says that "it cannot too often be repeated that, without expressive and natural melody, every ornament added by instrumentation is nothing but tawdry magnificence." It is the well-schooled melodist who writes the brightest, ablest 86 MUSIC teachers' national association. music; it is he, of all others, who sets the tune with clearness, unity and skill, and makes it rest upon the freedom of the mind^ for love of all mankind. The fundamental questions of the hour but slightly concern the contrapuntal or educational acquirements of the American com- poser; but with his gifts and what use he makes of them we have muck to do. We must now ask ourselves this question, namely: what are the signs that in years to come musical art will make any such native and characteristic appearance in the United States as has been historically recorded of its growth and development In other lands? The point I make is exactly this: that more national melodists are needed; that only such compositions have right of domicile in the empire of art as are pervaded through and through with the living breath of a creative power. In seeking for the manifestations of this power, we find even in our own country a superabundance of labored and elaborate compositions that have simply been influenced by the science, the inge- nuity, aye, the atheism of our age; but how often do life and soul shine through them? How often do our composers speak out honestly in their compositions? Even the ceunterfeiter, though he may succeed in imitating to a hair the most intricate convolutions of one of Uncle Sam's bank-notes, is regarded with contempt, is arrested and imprisoned. It is, however, the very suggestive feature of his art that it is by no means paved with good intentions. With the art counterfeiter the case is quite different, A higher estimate is placed upon the bank-note than upon the symbol of the man of genius. The one must be protected by law, the other is supe- rior to the necessity of any such protection. We therefore can afford to be charitable to the art imitator. His art is paved with good intentions. Give the poor devil rope enough and he will hang himself. In the mean- time he has the poor satisfaction of knowing that one honest American tune like " Old Dog Tray," " Massa's in the Cold Ground," or "Old Folks at Home" will outlive any of his worthless imitations; yes, even the honest native music, that has been composed by the American negro, will outlive a dozen artificial symphonies. The paradox is often sung out to us in Jeremiah strains— and all our English, French, German and Italian sisters, cousins and aunts join in the chorus— that we are a nation of foreigners. It is true that our not very remote ancestors were foreign born Owing to this, doubtless, and to conditions even less favorable, we seldom experience from the musical compositions of our native composers anything like the origin- ality, the good, substantial, honest melody that even our least friendly- critics are reasonable in demanding of us. We have no national hymn, it is true, and but the fewest folk-songs; yet there are those who fain would claim for us an art that still requires the foreign aid of ornament, not being like Schubert's anti-contrapuntal melodies, "when unadorned, adorned the most." Among the very few works by American musicians that have been MUSICAL COMPOSITION IN AMERICA. 87 admitted to the press of Breitkopf and Hartel in Leipzig, is a work in pamphlet form entitled "Ueber die Musik der Nordamerikanischen Wilden." This pamphlet is by Theodore Baker, one of the few Ameri- can musicians who, being honest to his impulses and doing directly as nature has had him do, has attained prominence in Germany without finding it eesential that he should devote his valuable time to musical composition. In Mr. Baker's work, a weird and grotesque variety of tunes is quoted from aboriginal sources. Mr. Blumenschein will now perform for you a Ponca "Love Song." , Page 73 XXX. Allegretto. PONCA LOVE SONG. i 4 e IT 1 — #- — • My second selection is a Pawnee "War Song." Page 71. XXVIL PAWNEE WAR SONG. '4 4 4 3: « MUSIC TEACHERS NATIONAL ASSOCIATION. On page 63 of the work you will find a war song of the Iroquois. Page 63. VIII. Allegro moderato. ^ IROQUOIS WAR SONG. — ^4 -A -9^ ■ -sH— M- D.C. Finally, Mr. Lavallee will perform a Ponca "Sun Dance. Page 73. XXXII. Allegro. PONCA SUN DANCE -h-h spa Laugh at all this aboriginal grotesqueness, this first period of our American music though you may; call it coarse and vulgar if you will, and yet who shall say that it does not all emanate from a soul completely filled with its subject, and no less moved in its innermost heart's recesses? Let our cultivated American composer then learn from his aboriginal authority, if need be, that in the "war song," " scalp dance," " love song," and "sun dance" he has at least honestly revealed the very ideal of his existence in the whole-souled fullness of his powers. Notice that even the poor savages' arrangement of sweet sounds, the legitimate basis of composition, aptly enough, is with the "simplicity, truth and unaffectedness" to which Gliick refers in his dedication to "Alceste." These tunes are honest, fellow-musicians, these tunes are honest; and being honest they conform to Gliick's theory as to what constitutes the fundamental principles of the beautiful in every work of art. Far be it from my purpose to offend or displease by this paper. When I say that original compositions by native composers are wanted in this country, I do not mean to imply that the country is destitute of the article at the present time; but again I ask, where are our Folk songs? where are the MUSICAL COMPOSITION IN AMERICA. 89 geniuses among us that can write for children as wonderfully as did Schumann? where ig our Schubert, who confessed his ignorance of counterpoint? or where is our Gliick, of whom Handel said, "he knows no more about counterpoint than my cook?" Why, again I ask, has our national hymn not been written? It is because too many of our musicians are striving for fame in the same way ; being touched by the " last infirmity of noble minds," they must fain shelter themselves under Shakspeare's authority that " if a man do not erect in this age his own monument ere he dies, he shall live no longer in monument than the bell rings, or the widow weeps," Music in this country must have the same gradations that it has had elsewhere, and by gradations in music I wish to be distinctly understood as refer- ring to the progress from low to high according to nature's laws; from piano to forte move on without any such progress backward or decres- cendo in musical art as the premature development of symphonies on our soil will surely bring about. The laws of nature will not admit of any sudden leap, but require a gradual and regular development. What is wanted in the United States to-day is not the pseudo-com- poser, not even the symphony writer if he possess the faculty of writing original melody. "First the blade, then the ear, then the full corn in the ear." Neither have we any use for the melodist without the science of harmony, but the demand of the times is for the melodist who is also a master. Thanks to the musicians of France, by whose example we are not enough influenced, this reign of twaddling pedantry in music is fast approaching an end. Musician, know thyself; be honest to your impulses and more and more studious in following nature. Let your melodies be pure and expressive. Emulate more and more the truth and melody that one finds in the songs of Schubert, or the expressive natural harmony that prevails throughout the scores of Schumann. It is only in these lesser details that any such musical compositions grow out of date, while their broader features possess a type of nature and truth which defy the influences of time and fashion, and what is worse, the curse of pedantry. THE PAST, PRESENT AND FUTURE OF THE VOCAL ART IN AMERICA. BY EDMUND J. MYER, OF NEW YORK. Mr. President, Ladies and Oentlemen of the M. T. A.: A retrospective view alone of the "Past, the Present and the Future of the Yocal Art in America," the subject selected by your committee, would consume many times twenty minutes, the time allotted me. It would be valuable to us only in so far as we might be able to profit by the mistakes, the successes and the experiences of those who have gone before. The present concerns all — teacher, pupil, singer. The future depends largely upon the preseut. Hence, I shall devote my time chiefly to the present and the future. The art of song is founded upon the science of voice ; upon those grand fundamental principles which govern and control all artistic voice use, the laws of Nature. The art is the application and use of these principles and laws; the practically acquired skill in producing and con- trolling artistic voice, for a purpose, a desire, an effect. We should, then, strive to know those eternal truths in regard to the use of the human voice, which are as broad as the earth and as high as heaven. We should not adopt, blindly, any one man's ideas or methods or any so-called national method. We should have a care, however, that we sink not so deep in the well-worn ruts that we fail to profit by the thoughts and ideas advanced by the thinkers of the day — those whom we may find are far in advance of their day and their profession. THE PAST. Much of the teaching of the past was not founded upon the science of voice, and this is equally true with regard to the present. It was for- merly confined principally to the larger cities, and was based upon a study of the Italian language. Hence only the favored few enjoyed the privileges of special training. Vocal instruction was then principally given by broken-down opera singers, or by pianists, singers whose voices had failed prematurely, or who had spent their best years before the pub- lic, without giving a thought to the principles of teaching. A good or great singer may be a good teacher. A good teacher, however, must, at least, be a correct, an artistic singer, and must have had special training and experience as a teacher. THE PRESENT. During the last twenty-five years, and especially during the last ten or fifteen years, a wonderful change has come over the spirit of music P-^LST, PRESENT AND FUTURE OF THE VOCAL ART IN AMERICA. 91 in this country. An activity and advancement that is surprising has been felt in every branch of the art ; and one is led to believe that the day is not far distant when, to be a musician, will be considered emi- nently respectable. A wonderful change of sentiment in this respect has swept over our broad land, and parents are now delighted to know that their children, boys as well as girls, have a taste and talent for that which, if properly fostered, will eventually elevate them above the common walks of life. To-day we find that almost every town and city in the land has music taught in its public schools. Many of our colleges and institutions of learning are adding music to their regular course of studies. The training of 'the speaking and singing voice will, no doubt, soon be universally considered a part of a general and liberal education. In the midst of all this general activity in musical matters, what are we, the vocal teachers, doing to keep abreast of the times? Are we up to date? Have we not as good and as strong men and women in our ranks as can be found in any branch of the art? " Certainly," I hear you say; and yet it is said of us that, as a profession, as a whole, we are not as strong as the instrumentalists. Why is this? It can but be due to that condition of things which I heard a prominent musician call "A moun- tain of selfishness, prejudice and jealousy." The members of the vocal profession, as a class, do not stand by each other. One is afraid that another may get hold of some of his or her original ideas or methods. The teacher who thinks or who claims that he knows it all, and that his way, and his way only, is the right way, must be either a knave or a fool. Fellow-teachers, allow me to say that nothing develops one so much as imparting that which he knows to oth- ers — not simply.to his pupils, but to his equals, his peers, or his superiors, for that matter — giving idea for idea, thought for thought, spark for spark. Hence should we wield the pen, and every town and city should have its club or clubs of vocal teachers. But, do we do this? Certainly not, to any great extent. On the other hand, the tendency is to discredit everything which other teachers may do, especially if they happen to live in the same town or city. Thus much is done by many toward low- ering the standard of their own profession. It behooves us to throw aside such narrow and petty prejudices as unworthy of the liberal and conscientious artist. I would not, by this, have y©u to understand me as saying that the vocal profession is not progressive. On the other hand, let us recognize the fact that our profession is rising in dignity, and that it is incumbent on us to maintain its standard and promote its progress. For the science of voice is a definite science, and the art of song is the highest of the musical arts. As has been so beautifully expressed, "The human voice is God's art evolved from a Divine organ or instrument by a Divine power." We have, beyond doubt, as good teachers in this country as can be found the world over. And yet we are suffering from that influence of the past which gave rise to the impression which so long prevailed, and 98 MUSIC teachers' national association. which still prevails, that the best voices, in order to receive the best and most complete training, must go to Europe. But, do the facts justify this prevailing impression ? Every teacher well knows that so soon as he finds and develops an unusually promising pupil, that pupil is imme- diately set upon from all sides and almost driven to Europe. The best voices, it should be remembered, go to Europe. But of the hundreds who annually go, how many are ever heard of, outside of their own locality, after they return and make their debut? Very few, I as- sure you. Those who do succeed would, as a rule, with the same devo- tion to their art, have succeeded as well here; and they are usually the ones who have laid a strong and sure foundation of voice before going. This is a progressive country, and sooner or later, the tide must and will turn. There is no doubt but that the day will come in the future when those who desire the best possible vocal culture will seek for it and find it here in our own country. the future. The future depends largely upon the present; hence our responsibil- ity; hence the importance of seeking the truth and setting it forth in the best possible light. No man, in regard to this question of the future, can rise above his own level; he must give his views from his own stand- point. The future, then, in my opinion, depends largely upon two import- ant points. First — we muat have a correct and simplified method or sys- tem of voice training, of voice culture, based upon a study of the English language in song. Secondly — this method or system must be founded upon the science of voice, upon the natural movements of the voice. The English language is destined to be the language of the future in song, as in every other respect. The day was, when all cultured, refined singing was in the Italian. "France first emancipated her singers by the establishment of national opera in her own language. Germany followed the example of France, and Russia is about to do the same." England and America are the only great nations of the world that have not estab- lished Grand opera upon a sure foundation in the national language. A writer in The American Musician 8a.ys: "England is the only leading nation of which the ruling classes patronize Grand opera in a foreign language. America, when it cut loose from political union with Eng- land, unfortunately received its musical ideas and customs through Eng- lish channels. A badge of inferiority was thus put upon the English lan- guage by fashion, and this country was over-run by singers warbling in Italian, and latterly in German, to American audiences. Even Ameri- cans were taught to sing by foreign teachers, like parrots, in a language they did not understand. The result has been a most lamentable effect upon standard public taste." It is true, an effort was made a few years ago to establish Grand opera in English in this country, and in connection with it a National School PAST, PKESENT AND FUTURE OF THE VOCAL ART IN AMERICA.. 93 for the training of singers for Grand English opera. The opera failed artistically for the simple reason that the principal singers did not under- stand the English language. With regard to the school, Werner's Voice Magazine said: "Instead of being national, the institution is particu- larly and offensively non- American, the Faculty being composed, for the most part, of foreigners. The Conservatory has no more claim to be considered national than has the American Colony in Paris to be called French," Think of a teacher preparing singers for Grand English Opera who was compelled to use an interpreter. What would the French or Italians think and say, if teachers speaking English only should attempt to establish schools in their country, for the purpose of teaching them to sing French or Italian Grand opera. And yet the one would be no more absurd than the other. This is a progressive age. The public demands more and more, the thought, the sentiment, the soul of the song, and not the sound only. An artistic rendition of the words is often of more importance than the music. Hence, one of the most essential qualifications of an artist is clear enunciation. It is highly important that singers study more than one language in song. But the constant study of Italian, French or German will teach no one to sing the English. Correct singing is a proper control of breath exit and a right use of words. The vowel sounds and consonantal ele- ments of a language are the greatest factors in the training of the voice. Hence, all voices should first studj'' and master their own mother tongue. The fundamental principles of singing, the development of the voice, should always be based upon a language that is understood, which, as a rule, for Americans means the English, It is claimed by those who do not understand the English, that it is a difiicult language to sing. On the other hand, it is not difficult to prove that when its vowel forms and consonantal sounds are understood and mastered, it becomes as easy and beautiful as any other language. Who will be the one to formulate a correct method or system of singing based upon the wants and needs of the English speaking singer? My second proposition is, that we must have a method or system of voice training founded upon the science of voice, upon the natural move- ments of the voice. Science is truth. The art of song, to be true art, must be founded upon science and not merely upon an individual or na- tional style, school or method. No man has a right to formulate what may be called a method of singing, based simply upon his own ideas, un- less he knows beyond a doubt that his ideas are in themselves founded upon the science of voice. Anything short of this is charlatanism and quackery. Of two methods of singing founded equally upon the truth the one which is simplest in form is always the most effective. He who can present the truth in the most simple and direct manner is the better teacher. A complete course of training must embrace the three principal stages of study; the mechanical, the intellectual, and the sesthetic. After all 94 MUSIC teachers' national association. meclianical movements, right location and direction of effort, are under- stood, the study must then merge into the second stage. All movement must then become automatic; must be the result or correct thought; must be controlled by will power. This being accomplished, the third stage of study is then in order, or the development of the inner, the higher, the emotional nature of mau ; the study of the higher forms of expres- sion. Of course it is not possible or desirable to absolutely separate these three stages of study; they merge, as it were, into each other. The object of song is the portrayal of thought, sentiment, feeling, emotion, passion, which must be done in an artistic manner to produce artistic effect. Artistic voice is the result of breath imprisoned, compressed and con- trolled in exit, and not of breath in escape. He who has proper control of the breath in exit has absolute freedom of form and action and the full use of all his powers. It is generally acknowledged that correct breathing is the foundation of all true singing. We have been told again and again how to take a breath; the subject of inspiration is well understood. But, as a rule, we have not been told what to do with the breath after taken, how to apply it, how to contiol it in exit. The subject of expiration is not generally understood; and yet it is far the more important of the two. It is a law of nature that, in order to secure a condition of repose or control, when there is a force in action there must be an equal opposing force. In producing tone we must have motive power, driving force, pressure. If we desire artistic tone we must have a correct and equal controlling force in opposition, resistance. Pressure and resistance must be right, and equal in order to secure correct position and condition at the organ of sound. This question of resistance, upon which depends all correct breath control, is the weak point with almost every singer. It is the missing link in most systems of study. Every singer and teacher has felt that something was wanting, in their method of singing and teaching; something which was not definitely understood. That something is resistance in singing. To have intensity of tone we must have compression; but the force of the air current must be broken, must be controlled somewhere and somehow; if it is not done in the right way, it is sure to be done in the wrong way. This is Nature's way of saving the voice from strain; but even jS'ature cannot resort' to wrong resistance and produce beautiful ar- tistic tone. There may be many wrong points of resistance or control; there can be but one right point. One prominent wrong point of resis- tance is contraction of the pillars of the fauces. Behind this point when it is made a point of control, there caa be no resonance, no reinforce- ment; hence the result is a hard, harsh, white tone. Another wrong point of resistance is the perverted action of the strong throat muscles; when used for controlling, they become interfering muscles, and cause the thick, throaty voice which is so common. PAST, PRESENT AND FUTURE OP THE VOCAL ART IN AMERICA. 95 It is only when true resistance prevails that the singer can have abso- lute freedom of form and action; that he can have perfect breath con- trol and freedom of articulation; that he can disassociate muscular from vocal effort; that he can have full use of all his powers. The motive power of pressure we know lies in a right use of the strong muscles of the body; the diaphragm and the abdominal and inter- costal muscles.* The controlling force or the resistance over which we have correct, direct control, lies in the proper use of the chest and chest muscles. There should be no direct local effort above the chest. All effort or action above the chest, to be right, must be automatic, the result of correct thought, or will power; must be the result of the manner in which the motive power and resisting forces are used and applied. When the motive power and resisting force, over which whe have correct direct control, are properly managed and all is free above the chest, then we secure automatically at the organ of sound, the larynx, accoustic conditions of the greatest importance; conditions which give us the true point of resistance, which means to the singing voice, artistic control, tone color, power, freedom, purity and resonance. What and where is the true point of resistance, how is it secured, and what is its influence upon the voice ? These are important questions for consideration. I have not the time here to give my views upon them, much as I should like to. One thing, however, I desire to say, and I regard it as a point of so great importance that I wish to lay special stress upon it ; and that is, that the delicate vocal muscles them- selves cannot and do not control the exit of the air during the artistic tone production. Who will be the one to solve this great question of resistance or con- trol ? Who will supply the missing link upon which depends so much the future of the vocal art in America ? the deep breathing and controlling and driving power of effort lies in the dia. phragm and not in the abdominal muscles ; a serious mistake often made. The action or effort of the abdominal muscles must be automatic; the result of a right control of the diaphragm. VOCAL MUSIC IN AMERICA. BY JULES JORDAN, OF PROVIDENCE. I am very glad to be present at these delightful meetingB and am grateful for the few moments accorded me in which to express my opinion of the future development of vocal music in this country. I must confess that I am not able to see any signs of immediate improve- ment in the conditions which must exist before any change is possible, and the reasons are manifold, the principal of which are two, viz: The lack of a standard and uniform method of singing, and the disadvant- ages of infrequent lessons. There is no branch of our profession in which there is such diversity of opinion, as to methods of training, as in vocal music. I am not here to say what I believe to be a correct method, but I am bound to say that I believe that, until some steps are taken by competent persons to formu- late and publish a reasonable and natural method of singing, one that has been proved to be correct, devoid of all eccentric notions about this or that concerning the matter, we shall go on as we have been and are now going. A few persons will sing fairly well because they are bound to sing — I mean by this that some are so gifted, by voice or talent, or both, that their eong springs like a bountiful stream, and the teacher — sometimes even the incompetent teacher — drops on the tide and floats along with the singer, steering clear, perhaps, of the rocks which are in sight, but not dreaming of dangers beneath which must be avoided, either by chance or by skill, or all will be wrecked. There are such singers now, and there will be more. But what of those persons with the stubborn and hidden voices — if I may so designate them — for there are voices of this kind? Even as gold is found in many places; sometimes on the surface where it may be had for the picking up, but far oftener in the mines which must be worked and the gold uncovered; but gold is gold wherever found. There are many voices which at first are not promis. ing, but the skilled ear and perceptive mind of the teacher will detect the signs of gold if they exist. And the sound method will find and bring it to light, and it may become as pure as though found on the sur- face, for gold is gold. Another and very grave disadvantage to both teacher and pupil is found in the infrequency of lessons. As a people, we are said to be always in a rush and hurry. We know that is true of business, and I believe that art suffers from the game cause- How reluctantly the con- scientious teacher agrees to an arrangement for lessons, whereby the pupil will have but one lesson a week. He knows well and will tell the VOCAL MUSIC IN AMERICA. 97 pupil, that he should practice only a few things, such as positions, etc., but the pupil, if he is in earnest at all, will be ambitious, and will try to do more than he ought, hardly knowing how and generally failing; will make the lessons more and more difficult for both, and after many les- sons the various ideas that have to be learned are in a measure digested and the result made manifest. It is a rare experience to find anyone who is able or who should be allowed to practice the first lesson in sing- ing apart from the teacher. I should like to say to every one who would study singing: Take the first lessons daily — you will advance more in three months by so doing than you will by two years of weekly lessons. The teachers abroad have a great advantage over us. Those of whom I know require the pupils to come at least three times a week for lessons, and more often daily instruction is given. This latter is the way to make rapid progress, especially in the commencement of study. The people's interest and ambition are quickened by daily contact with the teacher; he is kept in the right way, and in every respect it is the better plan, besides being much cheaper in the end. But I do not suppose that any immediate change will take place in these matters. We have an enormous country. Teachers are scattered everywhere. We all believe we are doing good, and we are all working in what we should believe the best way. Our pupils are drawn chiefly from the ranks of business or from an exacting social life, and the little time they can devote to study is hardly sufficient to advance them rap- idly. Few of them are studying professionally, and are, therefore, not as much in earnest as they would be were such the case. Those who can, go abroad, giving the teacher there what was withheld here, namely, a devotion of time and energy to study, which, if given here, might result as happily. In closing, allow me briefly to suggest a plan, which, if it could be adopted, might enlighten us as to some of the methods employed and give us an opportunity of comparing their merits. I would have four teachers of acknowledged ability and reputation selected from different parts of the country. They should have the privilege of selecting four uncultivated voices each, one soprano, one alto, one tenor and one bass, from applicants who would surely avail themselves of the opportunity. If the teachers would give their eervices, it would be good, though it would be far better if the Association would pay for the daily lessons of these pupils, and so have the right to call for an exhibition of the results of such a year's training, at its conventions. The teacher could then both explain and exemplify his ideas to some purpose. Of course, it would take time to settle so important a matter ; but something of the kind should be done, and I offer my suggestion for what it is worth. Meanwhile we shall go on working hard, planting the good seed, and hoping for a harvest some day, even if gathered by other hands. PROGRESS OF VOCAL ART AND ITS FUTURE PROSPECTS. BY EMILIO BELARI, OF NEW YORK. In order to make known the progress of vocal art, following it step l)y step, it would he necessary to give you an idea of what singing was ^imong the people of antiquity, principally in Egypt, Greece, and during the Roman period ; but I will pass it in silence, and without stopping to 'examine what were later the schools of singing founded by St. Ambrose, St. Gregory, Charlemagne, San Gall and others, I will merely say that singing, during the first eight centuries of our era, was composed of an- tique melopoeia, without rhythm, without modulation, without precise tonality, and which did not exact the least vocal ability in the singers. It sufficed to know the sign&, the tones and the Latin prosody that regu- lated the relative value of notes. The chanters, or cantori, tired of the monotony of Gregorian psalm- ody, began to vary it by introducing vocalizes placed generally on the ^nal or key-note. These variations, more or less capricious, according to the taste and ability of the singer, were the first symptoms of the ^reat revolution which was to take place in art, such as the advent of measured music, the reform in church music accomplished by Palestrina, ^nd the creation of Jyric drama toward the close of the sixteenth century At that epoch, noting the influence exercised by singers on the successive transformations in music, singing began to be made an art, and as music continued to progress more and more, it enlarged the sphere of action of the human voice, and the art of directing and modulating it gradually l)ecame more complicated and more difficult. The operas of composers anterior to Scarlati were simply a mass of slow and solemn recitatives, frequently interrupted by long rests ; but in the eighteenth century, melodic forms, having amply developed, gave birth to the aria, duo, trio, etc., and singing arrived at its highest apogee. Toward the first half of the eighteenth century, Pergolese introduced the bass voice in opera, where primitively were employed only the tenor and soprano, the latter being women and children. But, as children's ■voices were not adapted to the expression of energetic sentiments, they were soon put aside and replaced by eunuchs, who became the idols of the art of singing. It is necessary to read the chronicles and study the music at that time in order to form an exact idea of the forced prodigious vo- calization accomplished by these neuter beings, some of whom, among them Farinelli and Crescentini, became most powerful personages at the ■courts of Philip V., Ferdinand VI. and Napoleon. They were the tyrants PROGRESS OF VOCAL ART AND ITS FUTURE PROSPECTS. 99 of composers, whom they obliged to write according to the caprices of their fantasies. A Uterrateur and musical critic said, "Should one suppose that these sickly and unhappy beings would be cold singers, with mannerisms, ridic- ulous commedians and as monstrous morally as physically, he would be in €rror." Not only did the greater part possess voices of good compass, so- norous, brilliant and flexible, that they had subjected to all the difficulties of vocalization, but often gifted with a beautiful form, an enlightened taste, and a wise method that they had formed by twelve or fifteen years* work, they were able to express all the shades of passion, startling whole audiences, and bringing tears from the eyes of the coldest or the gravest men, such as Philip V. and Frederick the Great. One cannot form an idea of the transports of admiration awakened, for instance, by Gun- dagni when he sang for the first time at Vienna the role of Orpheus that Oluck had written for him. The whole Imperial court, all the women and Gluck himself, shed tears while listening as he sang in inimitable style the sublime air " Che faro senza Euridice." In spite of the inebriating pleasure that the eunuchs of the eighteenth century gave to the dominating monarchs of Europe, they completely disappeared from the operatic stage, not only because the musical revo- lution accomplished by Gluck made them useless, as they did not answer any positive purpose in art, but also for reasons of humanity. At the end of the first quarter of our century not one existed on the operatic stage; Crescentini and Veluti having been the last two who were still singing in London in 1826. Rosini replaced them by feminine [contraltos, who ren- dered and still render important service to the modern operatic school. Italian opera has now spread in all the states of Europe, and as music has taken a more verile character by disengaging itself from the influ- ence of violinists, singing entered into a new way, enlarging the sphere of action by the introduction of the three male voices, bass, baritone and tenor. By this rapid glance I have just thrown on the past it will be seen that the art of singing has followed the progress and successive trans- formation of the musucal art, and that its history has always been inti- mately connected with the history of music from the most ancient days down to the creation of the modern lyric drama which, without doubt, is one of the greatest conquests of the human mind. Reading with the fantastic mind of the poet the enthusiastic musical chronicles of the eighteenth century, called the golden age of singing, and those of the first quarter of our century, one would be inclined to ask: In what marvelous manner did those immortal virtuosi manage to possess a sublime art that so charmed our ancestors ?^Could we not, by fol- lowing its trace, regenerate our vocal art so in decadence since the second half of our century? The reply of the thoughtful man can be but in the negative, for precisely the cause of this visible decadence, that we all regret, is to insist upon educating singers under the same false principles professed at a time when there was not the least knowledge of the mech- 100 MUSIC TEACHERS NATIONAL ASSOCIATION. anism of the voice. Besides this, the music of our day, having abolished the long tirades of cold vocalizes that pervert dramatic truth, demands vocal power of the singer and a more energetic dramatic accent than may be obtained only by the means employed during the reign of gorgheggi. To elevate vocal art to the same standard of modern lyric drama, it is necessary for us to have recourse to other formulas, to more solid prin- ciples, to other processea that, based on the laws of the natural mechan- ism of phonation, will develop and perfect the voice to its highest degree without compromising its freshness. This means, in a word, that to ar- rive at something solid it is necessary to make a universal code of sing- ing, "the fundamental basis of which should be the education of the voice; a matter as unknown to modern professors as to the the poor masters of the school of eunuchs in which Porpora and Tosi are the worthy repre- sentatives. At an epoch when the immense talents of Pasta, Malibran, Persiani, Fodor, Grisi, Rubini, Tachinardi, Donzelli, Yeluti, Crescentini, Lablache and many others shone on the operatic stage, Rossini said that in Italy there did not exist either singers or schools of singing. He, who received instruction in the art of singing from Babini, one of the most renowned singers of the ancient Italian school, ought to have been able to speak understandingly. He was criticised, treated as a heretic, excommunica- ted by the dilettanti ; but in reality he spoke a great truth, unknown ta the panegyrists of the ancient method, who do not take the trouble to study the cause they defend. Echoing the assertion of Rossini, I maintain that from the time sing- ing began to be an art in Italy down to the present time, there has never existed a true method of vocal education nor singers who (with rare ex- ceptions) have used their voices according to the laws of nature — that sublime and unique master who never makes a mistake. The celebrated singers of all time owed their reputations and success to the special tal- ents received from nature, and not to the method by which they were ed- ucated. This is proved by the fact that celebrities such as Rubini, Mali- bran, Mario, Duprez, Giorgio, Ronconi, Alboni, Nilsson, Patti and many others of our day would form an interminable list, have shown great de- fects of education which caused the premature ruin of their voices, or which continued all their lives, although they were easy to correct when one knew the causes which produced them. Perhaps my positive mind does not permit me to see in all this an. cient vocal world a single principle that can serve as a fundamental basis for the constitution of a true and complete method of vocal .education, "but the more I push my investigations into the past, the less I find that it is solid enough to save vocal art from the sad future with which it is menaced. Discouraged to find nothing profitable, I knocked at the door of science, and in entering its temple, lighted by the torch of progress, I was able to interrogate nature, who permitted me to penetrate the ground of PROGRESS OF VOCAL ART AND ITS FUTT7RE PROSPECTS. 101 Tocal art. When once there, I turned my head for the second time back- ward, and then saw clearer than ever the poverty of the principles of vocal education in the golden age of singing, What ignorance did the masters of that time show us when we think that they were firmly con- vinced that in order to develop the voice of man it was necesiary to be- gin by depriving him of his sex ! And if, after that, we think that it was necessary for the pupils to study for eight hours per day for from twelve to fifteen years to accomplish what to-day they would be able to do in from two to four years, how can we believe that their master knew the least thing about vocal mechanism, and of the principles which facil- itate education ? If I insist on this matter it is because there still exist professors who insist upon using words void of sense to convince us of the excellencies of a method that in reality never existed. These are merely visionary sheep of Pa'nurge, trained by the current of routine. Chronicles tell us of some dozens of virtuosi who astonished the dilettanti of their epoch with their prodigious vocalization ; but who tell us of the hundreds of poor beings who have perished under the rigors of these barbarous pro- cesses called methods? Under the name of method of singing are wrongly confounded two things that are different, although intimately connected, and of which one is dependent on the other. These are the education of the voice and the art of singing. Education develops and perfects the voice, that precious gift accorded by nature to man, teaching him, at the same time, to produce it in the easiest and most effective way, which is the one in accord with the natural laws of phonation. Singing is benefited by education, and its benefits are appropriated according to the rules and principles of good taste — which constitute the art of singing — in order to obtain the desired end. This important distinction made, I readily admit that the art of singing in Italy, even before the time of the virtuosi mentioned, had arrived at the highest degree of refinement ; but I shall always deny that these celebrated and much admired masters understood the least principle of the art of well-educating the voice, as is proven by examining the books of methods and traditions which have descended to us. Leave, then, to the dreamy teachers the pleasure of going into ecstasy over the fantasies of musical literature which defy the eccen- tricities of the eunuchs of the eighteenth century, and let us seek on solid ground the foundations of a true method that can respond to the exigen- cies of the vocal music of the present and future. In this way the mouth of charlatanism that infests art will be closed, and vocal teaching, nor- malized in the entire world, will have ceased to be a fraud. Then the art of singing will flourish powerfully and vigorously in America, and the creation of our national lyric theatre, which is the golden dream of our young composers, will be an accomplished fact. It if to this that we should direct all our efforts, and I do not doubt that we shall succeed in a very short time if you are all animated, as I 102 MUSIC teachers' national association. am, toward benefiting vocal art in America. "Give me a lever and ful- crum/' said Archimedes, " and I will raise the earth." Since we are the lever, the fulcrum and the motive power, what is to prevent our stirring up the vocal world by galvanizing on this new continent the divin^,art that is dying in the old world. I have a presentiment that America is the country destined to take the first step in this sense, and do you know why? Beca\ase in America everything is to be done, and one can do everything, while in Europe everything is to be done, in this sense, and one can do nothing on account of the conservative spirit and inveterate routine. In Italy the art of singing disappeared as time took away our good singers. In France, the head of civilization, where all arts progress, the art of singing and vocal education are still as they were at the time of LuUi with his murderous methods. In Germany there exists neither method, masters, singers or singing which can accord with anything bu* German taste. In Spain, where the great musical art progresses rapidly, only a small number of privileged natures adopt as a profession the art of singing, following in the footsteps of Italy. Russia also makes great progress in music, but in vocal art she stands between France and Ger- many. England enters as nothing in this affair, for the word England sig- nifies an absolute negation of vocal art. However, it was in England that an eminent Spaniard propounded for the first time an acceptable theory on the voice. This Spaniard (Manuel Garcia, the illustrious master, whom I should like to see among us) opened a great way for investigation with his observations and his invention of the laryngo- scope. It is by this way that we shall be able to establish the basis of the normal and universal method of vocal education, which will recon- cile the art of singing and the modern lyric-dramatic school. This event, I hope, will be accomplished by the first vocal congress that will have taken place in the world at tfie celebration of the four hundredth anni- Tersary of the discovery of America. This congress will be due to the initiative of your humble colleague. ELEMENTARY MUSICAL EDUCATION. BY W. F. HEATH, OF FORT WAYNE, IND. Mr. President and Fellow- Teachers : It takes years for any new idea to become known and established as a fact. In this country during the last fifteen years the comparatively new idea of elementary musical instruction in public schools has made such wonderful progress toward becoming an establsshed fact, that ita discussion seems necessary only in regard to the following points : Why should it be taught ? How shall it be taught ? Who shall teach it ? By what authority shall it be taught ? That music should be taught in our public schools is no longer ques- tioned by those who have given the subject careful thought; the reasons why it should be taught should be better understood. One of the reasons first suggested is the general love of music, and at present to the general public this is the strongest. Second, we may notice the amusement and pleasure derived by the children from this study; and, third, its moral and refining influences. These reasons are all valid ; but, to my mind, there are many other and greater. When rightly taught, music calls into action almost every faculty of the child's mind, and many other faculties it develops as no other study does, because it calls into action collect- ively many powers that other studies exercise only singly. It often brings into play at once the child's faculty for and knowledge of tone- pitch and language, in applying certain tone-pitches to given words ; and it develops the ideas of number and measurement with the relative lengths of tones. To these must be added the exercise of the thinking powers, of visual perception and of auditory perception, in the triple act of producing the word, the applied pitch and the proper length of tone to the given word. In learning both language and mathematics the child is aided in its beginnings by the visible objective, and is easily led to recognize the visible representative, the written sign ; but in music the child must deal wholly with the invisible objective, and be led from this to the visible sign. In language and mathematics the thought perception depends upon \jDhat. In neither study does correctness contain the element of time; but in music exactness depends upon what and xolien. Emotional expression, whether in music or in language, depends upon variati^s, in force from loud to soft, in rhythm from slow to fast, and in quality of tone — variations which in instrumental music apply only to tones, and 104 MUSIC teachers' kationax association. in vocal music to both tones and words. In the latter case, to be effect- ive the emotional expression of the music must be in full sympathy with that of the language. To find that this emotional union of words and music is often grossly violated, one need only to listen to the great majority of singers. It is strange but true, that children preserve this emotional union of language and music to a far greater extent than adults, at least so far as enunciation goes. The teacher who can not gain and hold the attention of her school is a failure. A public speaker must be able to attract and hold the attention of his audience, either by hisj thoughts or by his oratory, or (in other words) by his emotional expression ; if not, his effort is a failure. In vocal or instru- mental music, in painting or sculpture, the successful artist must attract the attention. Failure to do this is not always the fault of the teacher, orator, musician or artist, but often is the fault of the listener or observer whose faculty of attention has never been cultivated. The Good Book says, "Having eyes, see ye not ? and having ears, hear ye not V Fortunate, indeed, is the man who can see and hear, and twice fortunate he who can appreciate what he sees and hears. But the key that unlocks the door to his understanding is the faculty of attention. One learns through the sense of hearing as well as through the sense of sight, and it is as important that his power of attention should be devel- oped in connection with the sense of hearing as with the sense of leeing. It seems to me that no one will attempt to deny the power of sound to attract the attention. And there can be no greater stimulus to intel- lectual growth than the food for thought obtained through the sense of hearing, in the many branches of knowlege with which music is inti- mately connected — music, which of itself occupies no second place in its power to make the citizen intellectual, cultured and refined. It must not be supposed that the power to remember a given melody or combination of musical sounds is all the exercise of the power of memory, afforded by the study of music. Such a supposition could exist only in the mind of one who, although possessing a great love of melody and power to recall or even to reproduce it, is yet ignorant of all the facts bearing on the legitimate study of music. Musical facts must b© observed and musical principles mastered, as are those of mathematics or any other study, before the mind can exert its powers in arranging and using the facts it has known and remembered. I would not be understood as depreciating the power to remember melody ; but the cul- tivation of musical memory merely, without the principles of music, is not musical education in the true sense. It brings into action only one mental faculty, the memory; while the thorough study of music in all its details exercises the other faculties together with the memory, as well as almost any of the other studies do this. That study is valuable which wil^ discipline the mind in all directions. He is fortunate who possesses the faculty of judging correctly of what he sees and hears. It has often seemed to me that in the training of the young this faculty is frequently sadly neglected, not only as ELEMENTARY MUSICAL EDUCATION. 105 regardt the power to judge of music and musical performances, but of things in general. When, as I often do, I hear people say, "I do not know one note from another, but I know when I hear good music and when it is correctlj rendered," I feel that their judgment is at fault and needs developing. It seems tome that in nothing save music are some people so quick to pass judgment, while often, at the same time, admit- ting their ignorance of it. The training during school-life which enables a child to judge of the correctness of a musical performance, is of undoubted value in the exercise of his judgment upon things in general. On the subject of methods much has been said, and much remains to be said before we shall reach the best in all particulars. It would be a grand thing if all could agree upon the fundamental principles, leav- ing the details to the ingenuity and individuality of the teacher. The things we should agree upon are methods for tone-pitching and their relations (or intervals), tone-lengths and the corresponding lengths of silence, notation and last, but by no means least, terminology. There are three distinct methods for teaching tone-pitch. The oldest of these, still thought by some to be the best, is the method founded on rote singing. The first year (or five-year-old) children are taught to sing, purely by rote, a few simple songs. The second year (or six-year- old) children, in addition to the rote songs, are taught by imitation a few short songs beginning with a simple phrase, as : [Teacher sings] Two or three such little, short phrases are taught, which are followed by equally short phrases introducing one and two of the scale, as: which the children learn to repeat. By degress, during the second and third years, all of the scale tones are introduced and the phrases extended. There have been, of course, some modifications of this method intro- duced, but the rote principle still remains. It is supposed that the child- ren, in this learning by rote, not being called upon to exercise any other mental power, save the power to imitate, will, by degrees, absorb the idea of reading music. Children are sent to school to gain a definite knowledge of facts, and the power to make individual use of them. I am not forgetful of the often-repeated statement that, as children must learn to talk before they can le^n to read, they, likewise, must learn to sing before they can learn Come 1 G a - way. 1 1 G G Teacher sings, Chil - dren play. 106 MUSIC teachers' national association. to read music. This is a statement no one will attempt to deny. The only question involved is, "How shall the child begin to sing ?" I say he should learn to sing as he learned to talk, which was by learning words individually as the names of objects or actions, and not by a col- lection of words — that is to say, a sentence. If the acknowledged prin- ciple, "One thing at a time," is to be followed, it should be one word and one tone, and not a whole sentence or song. A sentence is a collection of words expressing a complete thought. How can the cliild comprehend the complete thought expressed by the sentence without first knowing the words that make the sentence? Or, is the child supposed first to learn the sentence by rote; or, in other words, by sound, without any knowl- edge of the words, which knowledge is afterwards to be revealed to him ? There has been a great deal of discussion on the value of the sen- tence method of teaching reading, and the results have not been uniformly satisfactory. It must be remembered that there is a vast difference be- tween language-reading and music-reading. What would be the result of the sentence method if the child had not previously acquired at least a small vocabulary of words ? You know, and I know, that every child, before he is sent to school to learn to read, has acqured a small vocabulary of words. Where and how did he get these words ? One at a time. And there were first object words, later action words, afterwards followed by sentences. Think of the mother, at the first dawn- ing of the power of imitation in her babe, trying to teach it Tennyson's beautiful " Sweet and low," because she believed in beginning with sen- tences, an4 proceeding from sentences to words ; and all this in the hope of making her child either a poet or a lover of good poetry. It is true that the child begins music at a vastly different stage of mental development from that at which he begins to talk. This, however, does not reverse the processes of natural development. As the child must, and does to some extent, learn words before sentences, it should learn tones before musical sentences; for the practical primary units of language are words, and the primary units of music are tones. The second method of teacing tone-pitch deals with tones objectively, or first without melodic relations, beginning with one of the scale, and in- troducing the tones in their scale order, afterwards their relations. This system was developed from the principles of Pestalozzi, and was the first system introducted into the public schools of this country by that revered teacher, Dr. Lowell Mason. Whatever else may be said, it remains a fact that the work and principles of this great teacher left their impress on the cause of music in this country. The third method of teaching the tone-pitch is based upon the tonic triad principle of beginning with the tonic, following with the fifth, third octave, etc. I believe this to be the best method, for it individualizes the scale-tones, and at the very outset takes up the more difficult principle of tone-relation. A good knowledge of the scale-tones and intervals is the only sure foundation for good music-reading and, I will add, for true musical appreciation . We should seek to develop a true love of melody. ELEMENTARY MUSICAL EDUCATION. 107 but we should not forget that our modern music demands a love of har- mony as well. Much of the beauty of our modern music lies as much in its kaleidoscopic changes of harmonic color as in its melodic form. The old farmer in the Mascot says, " I've got a mascot. I don't know what it is, but I've got one." The everage listener of music, to-day, can say, " I hear a melody. I don't know what it is, but I hear one." It is an art to be a good listener, and am I not safe in saying that he who listens en- joys most what he understands best? And is not he the best able to listen who has learned to listen to a chord in its parts as well as to its whole? What is needed is intelligent judgment of music and mugical performances, which must be based on correct musical education. With- out doubt, this should be begun during the school years of youth, as society is an available proof that it cannot be done in later years with the masses. The oldest method for the measurement of tone-lengths in vocal mu- sic is the use of the motions of the hand. The second is the use of a system of syllables, used as the names of the various tone-lengths. The third dispenses with hand-motions and time-names, and aims to develop a sense of tone-length and accentuation by the establishment of a clear conception a unit length; and proceeding from this to the correct conception of the combining of two or more units, or the division of the unit into fractional parts. This it does by directing the mind directly to the tones instead of to the physical device for measurement, or the use of syllables by the rythmical flow of which a sense of tone-length is sup- posed to be developed. To discuss these methods as I would like would take me far beyond the time allowed for this paper. The subject of terminology is of great importance. There is not any well-defined method, and there is a wonderful diversity in the phrase- ology used to express musical facts. My plan is to use the English words that most clearly express the fact. I would not teach that "a sharp raises a note a half-tone," because, according to the common meaning of the words in this definition, it states what is absolutely impossible. Concerning the question, "Who shall give instruction in music in our public schools?" there can be but one answer. It should be given by the regular teacher, under the supervision and example of a thoroughly- trained specialist. The latter not only should be a musician, but should be thoroughly familiar with all the best methods ; in fact, he must be a teacher in all that the word implies. By the influence of this great Association, of our State Associations, and of the American College of Musicians, and by every other influence that can be brought to bear, there should be created a public sentiment that would induce the State to assume the authority. Music should be- come one of the studies required by law, and for the same reason that other studies are required. If the public schools are to be America's standing army, nothing that tends to make a strong, true and happy citi- zen should be omitted from the school curriculum. THE TONIC SOL-FA NOTATION AS AN EXPRES- SION OF THE PSYCHOLOGY OF MUSIC. BY THEODOKE F. SEWARD, OF NEW YORK. Within a quarter of 'a century the methods of education have been revolutionized. Psychology, which was formerly regarded as an ab- stract, metaphysical science, is now recognized as the basis of all true- educational methods. Music must therefore be treated in accordance with psychological principles or it will fail to take its place among the great edifying forces by which the human race is to be built up and pre- pared for its immortal destiny. What is the psychology of music ? Clearly, it is the relation which the art holds to man's innermost being, his soul. Educationally, that system or method is the most psychological which places the subject be- fore the mind of the bearer in the most orderly and logical relation of one fact or principle to all other facts and principles, and does this in such a way as to leave a permaneat impression. No person can be counted truly musical who has not the world of music so established in his mind that he can call forth the tones from his inner consciousness as certainly and definitely as he can produce a tone from a piano-forte or organ by touching a key. But the soul is not a piece of mechanism. It is a will. It is an es- sential being endowed with the faculty of self-consciousness and the power of self-control. The process by which tones are recalled or re- produced must therefore differ radically from the method by which they are produced from a mechanical instrument. They must be created hj that most marvelous of all instruments, the human voice. As produced by that instrument, all the scales are natural scales. No flats or sharps are to be found in the vocal chords, for the simple reason that they are not needed. Not only all scales are equally natural, but all tones are equally natural. The intermediate or chromatic tones have as legitimate a place in the tone-world as the first, third and fifth of the scale. In their proper relation they are just as simple and easily comprehended by the learner. A psychological method of teaching music must have a psycholog- ical notation; that is to say, a notation which expresses music from its natural side. Has music one scale or alphabet of tones, or many ? All musicians agree that there is but one. Yet most teachers in this country still employ a notation which forces the learner to study the one scale as many. This is sheer conservatism. It is a reflection of the time when|spectacles were regarded as blasphemous. People then argued that THE PSYCHOLOGY OF MUSIC. 109 God must know whom He wanted to be near-sighted or far-sighted, and man had no right to interpose his puny inventions and thui interfere with the Creator's plans. Whence comes the soul of music ? Can it be derived or perceived by- listening to tones as individuals ? We know that it cannot. The tones must be brought into the key-relationship which is technically known as tonal- ity. In that relation tones become endowed with a living personality. The soul of music grows out of that individuality or tone character. It is because Handel appreciated the soul of music that in writing a melody to the words, "I know that my Redeemer liveth," he expressed the strength of confidence and trust by placing the word "know" on the fun- damental tone of the scale Boli which has pre-eminently the quality of firmness and strength. It is because Mendelssohn appreciated the soul of music that in writing the words, "Oh! rest in the Lord," he expressed the spirit of restfulness by placing the word "rest" upon the quiet and tranquil third or Me. This side of my topic cannot be enlarged upon, although it contains in itself material enough for a long essay. 1 am to speak of the Tonic Sol-fa notation as related to this soul of music. The truth can be stated in a sentence. The Tonic Sol-fa notation is an expression of the sound of music. If the tones are individuals they must have names by which they can be spoken of and otherwise treated as individuals. If they are to be represent by symbols, the symbols must be direct and unmistakable and present the one vital fact of the individ- uality which grows out of scale relationship. Any thing more than this will only confuse the learner and interfere with his intelligence. The Tonic Sol-fa notation has been criticised for being only a partial expres- sion of music, the absolute or independent element of pitch being omitted- But herein is its chief glory. It is this characteristic which gives the no- tation its transforming power in musical education of the masses. What is the vital and essential fact — the character giving fact — which creates the art of music and endowes it with a soul ? Is it the particular shade of elevation or depression of pitch at which a melody is sung ? No, it is the melody itself, the combination of tone-characters which in one case gives tone to the worship of a congregation by a tune like the Old Hun- dred, or in another sways the hearts of mankind with such a simple lyric as Anna Laurie. Sing either of those melodies a half step higher or lower makes no change in its essential quality. Yet the spirit of conserv- atism leads many American teachers to retain a method which gives special prominence to a secondary and incidental fact in the art — viz: the independent or individual pitches of the tones. It is a mediaeval method which the world has outgrown, and yet many of the American teachers still cling to it. Where is our boasted spirit of progress ? A method of teaching music which claims to be psychological must have two characteristics;jlst, It must follow the line of growth; 2nd, It must have a simple and direct method of expressing or representing the musical facts, that is to say, the tones, out of which the art is to be built 110 MUSIC .teachers' national association. up, so to speak, in the mind of the learner. These elements are so fully embodied in the Tonic Sol-fa system that no one who thoroughly under- stands it will fail to recognize it as a truly psychological method. The teacher leads his pupils in a process of investigation. He first gives them a tone at any convenient pitch. He then leads them to recognize and produce the tone which is most nearly related to the first tone, both scientifically and harmonically, viz: the fifth. Having two objectSjthej' must.of course, be named so that they can be spoken of and otherwise treated as individ- uals. What names for these tones shall be given to the pupils as the most simple, natural and of the greatest value in future study ? We might call them one andjire, but there are four vital objection to the plan. Ist, The numerals are not suitable for vocal purposes; 2nd, If harmony is to be studied afterwards the numerals are confusing. The funda- mental tone of any chord is treated as the first; 3rd, The octave must have two names, eight a,VLd. one; 4th, The names cannot be modified to ex- press the chromatic tones when they are introduced at a later period. Fortunately a set of names stands ready for our use which satisfies every requirement. The Guidoniain syllables are euphonious and (by substitu- ting a lingual letter for harsh sibilant of the seventh syllable) are admir- ably adopted for practice in vocalization and enunciation. The names, Doh, Bay, Me, Fah, Soh, Lah and Te, are a valuable heritage from the past. We cannot well improve upon them. We therefore have names for our two tones the first and fifth of the scale: Boh, and Soh. The next question to consider is how shall these be so represented or written as to afford the most direct and unequivocal suggestion of the tones to the mind of the learner ? Shall we draw a series of lines and place a dot upon one of them, telling our pupils that the dot on that line means Doh, and the dot on the second line above it means Soh f Shall we do this because our grandfathers did ? If we do this, that is, if we continue to do this, we shall prove that we are not worthy to stand in our grandfathers shoes, for they were wise enough to adopt a better way of doing things when it was presented to them. If we make use of lines and notes as a method of representing tones during the process of teaching, we violate the principles of psychology, for we intro- duce an indirect instead of a direct suggestion of the tones. No, we will use the syllables, as their great inventor, Guido, did, but we will make a use of them which he only failed to do because the sim- ple state of the art, at that period did not require it. We will use the initials of these syllables as our notation, and in doing this we lay the foundation of an educational system that is truly and purely psychologi- cal, from the first step to the last. Beginning with the tones Doh and So?i, and sing them at various pitches, the third of the chord. Me, is presently added and the Tonic Chord stands complete. In the Tonic Chord we have the very soul, the psychological center of the tone world. It is the fundamental, eternal root from which the perfect art of music is to grow, like branches from a tree. The tones of the Tonic chord are not only the basis and germ of all music; they are also the basis and THE PSYCHOLOGY OF MUSIC. ni germ of the method by which music should be taught. They afford the best elements for tuning the ear and training the voice in the first stages of study and practice. With simple rhythmic forms an endless variety of melodies can be made which interest the pupils and gradually establish in their minds the fundamental tones from which all others are to spring. The next step in advance is the introduction and practice of the Dominent Chord, with additional rythmic forms. Then follows the Sub- Dominant Chord, completing the scale. When, after suflQcient practice of the diatonic or plain scale-tones, the chromatic tones are introduced with the simple and unmistakable signs of the Tonic Sol-fa notation, the pupil experiences no more difficulty or discouragement than when he be- gan to practice the tones of the Dominant Chord in addition to the Tonic. This has been proved by every class that was ever taught the system. But now comes the supreme test of the Tonic Sol-fa notation as a psychological method. The soul of music because it is a soul, is elusive. In the classical forms of music the center of tonality is perpetually changing its place. Does the Tonic Sol-fa notation take cognizance of that fact ? Does it aid the singer (who has no mechanical apparatus to guide or help him) in tracing and following the fugitive spirit, the Tonic, as it wanders among the keys at the sweet will of the composer ? It does, and it is for this one reason that all who understand the notation and its educational meaning,as8ert,with a calm and 8upreme']conviction,that it is destined to reconstruct the art of music and to completely change the re- lation of the art to the human race. And now let us consider for a moment the most unpsychological method of representing and teaching music — the staff notation. First as to its mode of representing or writing music. It is unpsy- chological because it does not afford a direct and unequivocal suggestion of a single fact in music. To represent any one tone requires a combin- ation of three distinct and seperate signs, viz: the staff, a cleff and a note. It is unpsychological because it does not clearly reveal the soul of music even in its earlest and simplest forms. It gives seven different readings to the plain and innocent scale, with complex combinations of symbols which none but an expert can understand. It is especially and hope- lessly unpsychological in the fact that its obscurities increase in a geom- etrical ratio as the art ascends. Not only is the changing soul of music not revealed in difficult modulations; it is so effectually concealed that only musicians of exceptional scholarship can follow the elusive sprite^ the psycho of tonality, through the intricate labyrinth of harmonic sin- uosities. Let me be clearly understood. The soul of music is there, and the soulful musician will find and express it. But he will do it in spite of the concealments and complications of the staff signs and not by reason of them. So much for the staff method of representing music. What about the method of teaching which goes with it ? Observe its charming simplicity 112 MUSIC TEACHEKS' NATIONAL ASSOCIATION, The whole scale is taught at once with three distinct names for each tone, viz: Syllables, numerals .and letters; eight tones and twenty-four names, or to be gcrupulously exact, let us omit the duplicates and say twenty-two. And when the tones are written the symbols are totally separate and distinct from the names. A note upon the stafl: has no pos- sible aesociation in the mind of the beginner with either the syllables, the numerals or the letters. Shade of Pestalozzi! What a bolus is given to the unfortunate learner to be swallowed as a hygienic stimulus at the very first stop of his educational pilgrimage. I am aware that all staff methods do not begin with so large a tax upon the pupils' powers at the first lesson, but it is the manner employed Dy one of the most prominent systems of school music which now appeals to the American public as containing "all that is of value in Tonic Sol-fa.'' And even if only a part of the scale is presented at the first lesson is it not following nature's way. The chord and not the scale is the central and germinal truth of music, from which art unfolds. Moreover the latter complexities are the same, whatever the method of beginning. Be assured of this, fellow teachers in this convention and elementary teachers of music throughout the country, when you teach by the staff notation you use a method which requires four times the labor and nervous force that are needed in teaching Tonic Sol fa, and you only get one-fourth the permanent educa- tional results. Four times four are sixteen. You may make what you choose out of my mathamatics. My statement is historical, and is proved by a comparison of results in America and in England wherever the Tonic Sol-fa system has full sway. You get results, I acknowledge, enough to mislead you with reference to the value of the method you employ, but they are temporary, except with the few who are especially musical or who have grace to make a special effort to master the diflcicul- ties of the notation. Music has been enthusiastically and efficiently taught for many years in some American cities. Where are the congre- gations in those cities that can sing classical anthems of the high- est order as many congregations do in England ? They are not to be found. The demonstrations which make such a pleasing impression in the schools somehow vanish into thin air. They do not leven. They do not render the masses musical. The unwieldy conglomerations of sym- bolic complexities known as the staff notation has so absorbed the mind with external signs that the soul of music has not entered into the souls of the pupils in such a way as to secure a permanent lodgement there. But conservatism is not by any means in full possession of the field. Teachers in all parts of the country are testing and using the psycholog- ical method and are rejoicing in its new and surprising results. Many of these teachers are perplexed by a question which I will take this op- portunity to answer. "American singing books are printed in the staff. Pupils and their parents wish the staff to be taught. At what point shall we pass from Tonic Sol-fa to the staff notation ?" Here is the answer. At no point for the study of music itself. It must be remembered that THE PSYCHOLOGY OF MUSIC. 113 music is a world; a world which is as truly composed of definite objects as the vegetable or mineral world. Its entity is entirely distinct from any of the symbols of which it is represented. The folk-songs of primitive peoples are handed down from generation to generation without a writ- ten sign. Various symbolic systems have been devised from time to time. One of these, the staff system, is now universally employed in civilized countries. But it represents the artificial or instrumental side of the art, and is therefore very complicated. After eight hundred years the T£)nic Sol-fa notation is invented. It represents the natural or vocal side of music. It is so simple that even the unmusical can understand it, and through its natural channels can have their talented powers developed. It is therefore the proper and only philosophical way of studying music. The staff is a system of complex signs which must be learned aside from the study of music. The point of beginning to teach it depends upon the progress of the pupils, the length of the course and other considera- tions. The idea that there is any point at which the pupils are to be transferred from the Tonic Sol-fa to the staff is a mistake and a fatal one. Whenever music is to be studied, the simple Tonic Sol-fa signs must be employed, not only for expressing the new musical elements, but also ioY practicing them. It will thus be seen that Tonic Sol-fa is not to be given up till the entire subject is mastered. For instance, after the scale is completed the teacher may begin to accustom his pupils to sing the tones from the staff notes but to drop Tonic Sol-fa at that point, would be a fatal mistake. The chromatic tones are yet to be learned and the staff signs for those tones are far more complicated than signs for the plain scale tones. On the contrary, the Tonic Sol-fa sign {fe) for sharp four is as simple as the sign for doh. So with all the others. After the chromatic tones are learned, may we not wisely renounce Tonic Sol-fa and adopt the staff ? By no means. The great principle of modulation is yet to be studied, and at this point the staff, which has grown educa- tionally weaker at every stage, breaks down completely. It does not offer helps but hinderances to the learner's intelligence. The Tonic Sol-fa no- tation has been important in the previous steps, but it now becomes ab- solutely essential. It advises the singer of each modulation in such a way that little children can readily practice it, although they may not un- derstand its philosophy. It will thus be see that the claim of staff teachers that they have "adopted all that is of value of the Tonic Sol-fa" is utterly fallacious. The hand-signs, the time-names, the recognition of "mental effect," are all valuable, and they can be used to advantage by the staff teacher. But the educational power of the Tonic Sol-fa system is in its natural, philoso- phical and psychological notation, and those who think it possible to ob- tain Tonic Sol-fa results from the staff notation and staff books are totally deceived. Thousands of people in America are thus deceived and the Music Teachers' National Association could not do a nobler or more use- ful thing than to place this matter before the public in the proper light. 114 MUSIC teachers' national association. Fellow teachers of America, why will you continue to persistently and ingeniously to argue yourselves out of this blessed educational inher- tance ? Nine years ago I called your attention to it at the meeting of this Association in the city of Albany. At that time I was described in the columns of a prominent musical journal of New York as "the under dog In the fight." Is that my position to-day ? I think not. Tonic Sol-fa was then spoken of by my opponents with contempt. I am certain that there is not a musician in this convention who would now speak contemp- tiously of the system. On the contrary, we have so far won our case that our antagonists, in order to maintain their ground, are obliged to borrow our feathers and claim to be the genuine, original nightingale, plumage, song and all. Now will you not put aside your preconceived ideas and make a trial of this great educational device which carries a blessing wherever it goes; to the teacher, the scholar, the home, the school, the church; wbich bestows music as a free gift upon the poor, and at the same time quickens the intelligence and enlarges the musical horizon of the rich? The soul of music has been hidden from the masses of the people through all the centuries until now. A way has been found to throw open the gates of the temple of art and to bestow its boundless treasures upon all mankind. Who will help us in leading the multitudes to receive and enjoy their precious heritage? DISCUSSION. Dr. Field — Mr. Chairman, Ladies and Oentlemen : Inasmuch as some of the subjects announced upon the program have been changed, perhaps those who follow may also be allowed to make a modification. I desire very much to call your attention to some physiological points in regard to the speaking voice, and I am requested to refer briefly to our duty in regard to the introduction of speaking and singing into the schools throughout the country. You are all aware that people talk a great deal more than they sing ; we are using the speaking voice continually, while many of us are not singers. My observation from work in a half dozen cities indicates that a very large percentage — if I say 75 per cent. I am within bounds of the truth — of the teachers of the American public schools are injuring themselves by a misuse of the speaking voice, and what I say of the teachers is equally true of the clergy. That being the case, i^ becomes the duty of those interested in the cultivation of the voice not only to promote musical sentiment in all the institutions of our country, but to see what can be done for the better culture of the speaking voice. It is to be noted in our Convention that many members have been unable to be heard. That is unfortunate. How can we correct this? We must reach the superintendents, the boards of education, the princi- pals and the teachers. In some cases we can reach one without securing the attention of the other. In other caees we perhaps procure the teach- ers first, and then through them reach the principals and the superin- THE PSYCHOLOGY OF MUSIC — DISCUSSION. 115 tendents. I think I have not visited one city where I have presented my subject to the superiiitendent, that he has not either said "we do not want it," or he has said, " it is a good thing, but you can't interest our teachers." I simply ask him this question : Will you give me your teach- ers' ears for one hour? "Well, yes, we can do that much for you." That is all I ask. Sometimes I have to go to the Boards of education behind the spperintendents in order to bring some power to bear upon them to secure a hearing. But the result of the hearing is successful work in nine cases out of ten. These things we have to contend with, tind it is our duty to push in every direction. The Normal School has been referred to, and I am told on very good authority that it is the best in the State, and that prior to two years last past in the State Normal School of Michigan, a teacher of oratory was employed there who had fine oratory and good facial expression, but he ruined the voices of the pupils of that institution and they finally made a, vacancy and there is a much better man there at the present time. This is equally true as to the cultivation of the voice in other parts of the United States. I wish now to call your attention to a physiological matter in regard to the voice. I turn to a report of the Superintendent of Education of this State for the year 1882, and I find these words: "The breath should be from the waist; use the diaphragm as a power to propel the breath from the lungs and into the windpipe." I turn now to an article from Mme. Cappiani : "It is the diaphragm also that gives power to the voice by propelling the columns of air to the vocal chords, and the greater the quantity of air propelled, the stronger the voice." Now, Mme. Cappiani is pretty good authority, but here I think she has made a mistake, prob- ably in the construction of her language. But the point is this: Muscles have but one action, — contraction, — and the muscles do not act the same in breathing as in speaking. I call attention to this, because my own attention has been called to it repeat- edly, especially during the winter last past. Nobody can have a good voice without care and without following out the proper method of treatment, otherwise the voice will be hollow, it will lack tone— it will be what we call sepulchral, or a graveyard voice. (Illustrating.) Here is the difference in the action : In the normal grading the diaphragm and the abdominal muscles act alternately in the production of the voice, they act simultaneously. The music comes out of that point (pointing to the chart). The chart I hold before you is one which I was kindly allowed to keep by President Emerson of the College of Oratory. I call your attention to the fact that voice and culture are based upon a sci- entific rather than upon a metaphysical basis. We are teaching by and through the laws of reflex action of the nervous system and of muscular sensibility, coming through the discoveries from vivisection. As a result of that discovery we find there are certain nerve centers which affect the voice. If the voice is properly placed here (referring to the chart), every- thing else becomes all right; you need not know you have a diaphragm. 116 MUSIC teachers' national association. You locate the tones properly, and use this beautiful upper chamber. The hound uses it, the wolf uses it; all use this chamber of resonance. Secondly, we have another nerve center at the end of the chin. The chin comes down, the soft palate goes up. Third, we have another cen- ter right here that controls the tip of the tongue. We use silver spoona or knives to round up the lip until this center is properly used. Through that you get possession of the top of the tongue — the tongue goes down, out of the way, to the normal position, the mouth is open, the soft pal- ate is raised, and then the tones come fully out with perfect ease and comfort to yourselves and hearers. S. L. Houghton : There are two things in the papers that I want to speak of, and one of those is in regard to reaching the students in our schools. In the smaller schools we have not been able to get music introduced. If we can get that, we shall soon be able to go on in a broader way with our musical education. In our own county we are striving to introduce music, not only in the smaller schools, but we are also trying to get it in the district schools. We are in hopes we can introduce it not only in the graded schools, but bring it into all the district schools. Another point was suggested, and that was that music should be required by law to be taught. I think that should be the case. I think it should be required as a qualification of the teachers that they should understand something at least of the fundamental rules of music, so they can start music in the schools. Music fits right in with the other studies. We have a great many pupils in our graded schools, and some from the district schools. They are up in the other lines of work, but when it comes to music they are way behind. They become discouraged, they don't know what to do; and it all arises from their not having been taught in the lower grades of the schools. If we can manage to have music put into the district schools it would be to the great advantage of the pupils. You who are older and better acquainted with this subject, I should like to hear from upon this point— music in the smaller graded schools, and music compulsory in our district schools; and in the graded schools also. Mr. Harding : These papers have been exceptionally good, and it is very gratifying to me to see, year after year, a return to what is really practical — that is, the teaching of real things in music. Let us not quar- rel over notations or other immaterial things. We shall always have in this country the standard notation. I think, when we teach tones in their varied relationship, it should be done before we use any sign, or use any term to reach the real thing. Mr. Mason has made it a special point in his paper, and which has been made in all systems of education and by all educators. You know, fellow-teachers, it is a very different thing to give a lesson than it is to teach. There are people in this country who are giving lessons, but are not guilty of teaching anything. What Dr. Field said to us is very good, because it makes a great dif- ference what the tone of your voice is ; whether you use your personalty THE PSYCHOLOGY OF MUSIC — DISCUSSION. 117 in sympathy with your pupils or not— whether they are younja; or old pupils. Of course, we cannot teach a thing that we have not a clear un- derstanding of ourselves, and so we ought to have this preparation for teaching. The art should be taught to pupils as they are able to under* stand it, and as they are mentally and physically constituted. The time is soon coming when, I think, all teachers of music and teachers of the public schools will understand the art and science of teaching ; but it must be studied pretty steady, and we never will stop studying. Preparation is something of vital importance to the interest of the teacher, whatever they teach. We come to this Music Teachers' National Association to learn the best that has been done and is being -done by the most intelligent teachers of the profession, and to improve by what we hear. If anybody can ghow us a better way than we are fol- lowing, we are glad to know it. If we are in a rut, let us get out of it, and let us adopt the things which belong to the more excellent way. Mr. Landon : In New York State, our meeting of a year ago, called for a committee to see about getting music introduced into the public schools, with the help of the Legislature, thus making it a State matter, and putting music on the same footing as any other study. • That com- mittee reported the form of a bill which was adopted. It provided for a vice-president from each county, for the purpose of bringing, if possi- ble, influence to bear to secure the passage of a bill. The bill provides for a number of things. First, that there shall be efficient instruction in. all normal schools of New York ; and, second, that in the institutions that meet once or twice a year, where a week is given to normal instruc- tion to all district school teachers, and they are acquired to be there ; that these schools shall have instruction in music ; that the teachers shall be taught how to teach music, and thus it shall be possible to reach the district schools that lay back at the four-corners everywhere ; thus reaching the district school of every rural district, and also the schools of every city. The bill has been carefully prepared, and we have some of the best legal talent of New York State to aid in iis formation. A great deal of time has been given to it, and a large correspondence has been conducted with musicians, and we think it is very carefully laid out. This bill will be published in our annual report, and anyone interested can send for it, ^nd will receive a copy. A word about the Tonic-sol-fa system. After teaching by two or three staffs and notation methods, and against prejudice, I finally made up my mind that I would work for the Tonic-sol-fa, and I became a solid out and out, square-toed, flat-footed Tonic-sol-fa man. With the same teaching ability I can produce at least four times the results with the Tonic-sol-fa that I could with the staff rotation; putting the same amount of work in it. That is not my experience alone, but is the experience of €very teacher who has given it careful, honest trial. Furthermore, in our school we cannot get teachers who are scientific teachers ; they are dis- trict school teachers, and if it is an excellent thing for them, it is a good 118 MUSIC teachers' national association. thing for thoroughbred musicians. It puts power into their hands that is not to be ignored. Mr. Perkins, of Chicago : I was questioning whether the subject is handled in this department as a mere matter of theory and opinion, or as the result of experience. 1 do not think it is necessary to lecture a class of people who assume to know as much as we do, or attempt to convince or convert them in regard to the advisability of this or that, when there i& no dissension opinion as upon the subject of singing being taught educa- tionally in all of our public schools. I would like to say a word upon the subject of notation. I am not going to find fault with any teacher. I care not what "system "you teach, if you only succeed, if you only make readers of music. I do not care whether you take the Michigan Central or Grand Trunk to get to Chicago, if you get there safely and. on time. When the tonic-sol-fasists- come before this or any other body and make a broad statement that so much more can be accomplished by that system than by any other, I think it needs to be demonstrated. That statement has been made, and very ex- travagantly, in this convention and on other similar occasions. Now, I will claim this, that the notations are the only essential diJBt'erences in the two systems. The tonic-sol-fa system, as a distinct system, consists of nothing more than its notation, and that is a very small factor in a system of singing or sight-reading. Many very important essentials come before it. The staff and no staff is the substance of the differences in the two systems. If Mr. Landon, or anybody else, has failed to teach by the staff notation — failed to teach thinking music, then he would fail if he teaches the tonic-sol-fa system. Teaching singing is to teach thinking, and not notation. To teach music thinking is the all-important thing to be done. The written language is very easily learned. This is admitted by the most enthusiastic sol-faists. They admit that the staff notation is readily learned even by sol-fa pupils — theirs ! If people listen to me, and do not know what tones of the scale I am singing, they have not learned to think, they have not learned the A B C of our musical language, in which condition the simplest notation would be worthless. Pupils must first learn the scale-relationship, chord-relationship and key-relationship of tones, then the representation is in order, and the staff notation will not be an im- pediment. This is admitted by Mr. Seward in his serious, sober moments, by Mr. Curwen and all his followers. I have had teachers from the pub- lic schools of Chicago to teach. They come to learn how to teach. Can they teach if they have no conception or perception of relative pitch as classified in the scale ? No. If they cannot produce a tone, they may know all the signs that are in use, but what are those signs good for, if the teachers have not learned first to hear, to produce, critcise and know whether their pupils are singing correctly or not ? Notation has nothing to do with it. If we put some sign upon the blackboard— a note, if you please — and call it " do," the pupil will sing one of the scale in the major key, and the next higher, in consecutive order, they will call "re," and sing two of the scale. They will sing them just as readily and accurately THE PSYCHOLOGY OF MUSIC— DISCUSSION. 119 from notes or signs as they would if "do " and "re" were written. Ad- mitting that pupils will sing a few elementary scale and chord exercise more readily during the first term or two, if the syllables do, re, me, etc., are written out in full, there will come a time, and not very far along in the study of music, when the " rock-a-by-baby in the cradle" must be laid aside, and a system of notation adopted which is broader and more comprehensive at "a glance, such as will enable the observer to grasp and definitely comprehend even a full orchestral score, and without any " do, ra, me's" in the musical pudding ! Even Mr. Curwen, the head of the sol-fa system, says this, and, also, said in Chicago that pupils in the public schools should change to the staff notation at the age of about ten years. I will guarantee to take a class of pupils, such as Mrs. Thomas has here before us, of the primary grade, if they have learned to sing nothing more than the scale correctly, and teach them to sing in every possible key or position in the time it will take to sing the scale through seven times, which includes all of the posinons in which the scale can be represented upon the staff. Pupils should not be kept in the key of C long — should not be allowed to get into a rut, but sing all of the seven positions so as to be equally familiar in every "key," so to speak. Had I more time, I would like to illustrate and demonstrate this ABC work with the public school pupils before me. Mb. Ruggles, of Iowa : I listened to the address read by the lady this morning, announced as a discussion of the tonic-sol-fa system, and I believe that just about two-thirds of the paper was given to a misrepre- sentation of the staff notion, instead of a correct representation of the sol-fa system. What we want in these places is an honest, fair repre- sentation of what is claimed for the sol-fa nation, and not have the staff notion held up for ridicule and misrepresentation. The essayist said dis- tinctly that the great merit that the Tonic sol-fa system claimed was that they made no effort whatever by exact figures. Nine-tenths of their attacks are based on the theory of a representation by absolute figures. All good teachers of staff notation, regardless of the challenges of the essayist, use almost identically the principles employed in the tonic-sol-fa system. I therefore ask that hereafter the essayists confine their criticisms to what is fair— that is, relative pitch, and not say anything about repre- sentation by absolute pitch. Mr. Stewart : To-day I met a young man who is a chorister and a tonic-sol-fa leader, and he said : "Mr. Stewart, I have been directing the choir for over a year. I have led the choir so long, and I want to say now frankly that if I were to begin with a new lot of boys, I would be- gin every time with the staff notation." Adjourned. THE RELATION OF STATE AND NATIONAL ASSOCIATIONS. BY N. COE STEWAET, OF CLEVELAND. The ultimate purpose of all association, local, State and National, is to benefit the individual. The excellence of an association depends upon the qualification of the individuals composing it. If an association is to advise a constituency, it is manifest that its members should be from the best element represented, and fully compe- tent to study, to discuss, and to reach right conclusions. If there be successive associations in line as local. State and National, then each higher association should be composed of the best material in the several lower associations, so that the highest may con- tain the combined wisdom, as it were, of the entire nation. These several associations having been formed for the benefit of the individuals throughout the land, it follows that the legislation, the con. elusions and the advice of the highest body must be carried back through the several associations to the individual. Thus from the individual to the National Association, and from the National Association back to the individual, each interdependent upon the other, and all being parts of the same great body, there should course the life-giving and sensuous influences which nourish, which bring into harmony, and which minister to the healthful growth of all the bodily members. The world really is only so many individual persons. If these have reached perfect development, the world may be said to be at its highest condition. But in no sense is an individual independent of his sur- roundings. He himself is only the result of myriad influences. He can- not be wlOiOlly independent, for the lines of his life reach back to creation, and forward to the end of time. Verily then, though we say " the indi- vidual." "no man liveth unto himself/' Yet the ego, although com- posed of influences, around, above and beneath him, is the unit upon which association must be builded; and for whom all association con- sists, and it is evident that he cannot arise to the highest development without the best association. "Individuals make the world," and " the best efforts of the world are for the individual." These are great natural laws, and all who would be wise would do well to place themselves in line with the same, and not betray ignorance and refuse nature's benefactions by contending against associations of the most profitable type. The Music Teachers' National Association was organized in consonance with this thought. THE RELATION OF STATE AND NATIONAL ASSOCIATIONS. 121 The chaotic condition of things prompted the effort to set about doing something: (a) to define and to establish legitimate musical instruc- tion and development; (b) to seek out right lines in teaching and train- ing along which the work might be prosecuted; (c) to conserve, and to bring into hearty co-operation, all departments in music education ; (d) to bring into co-operation to these ends the private teachers, the class teachers, music sehools, musical organization, etc. ; (e) to show to the world that music is a necessary educational factor and lays claim to a prominent position in every well-rounded course of study; and (f) to put into activity and keep in motion the forces which are necessary to accomplish the work. The beginning was made. Yearly meetings have been held. Opin- ions pro and con have been expressed, and all of the conflicting agencies incident to young and vigorous life have been in operation. The devel- opment, although not always in accordance with well-laid plans, has been wonderful, and to-day the necessity is apparent for important changes in the management of the Association, that it may more fully accomplish the purposes of its organization. The present discussion should be thorough and complete, and as soon as possible should lead to action in the premises: As a help in reaching proper conclusions in our discussion it may be well to say very briefly, and in general, that the definite things toward which all these activities are supposed to tend, are: First, The improvement in musical compositions, both vocal and instrumental, by encouraging those who would essay composition, in giving an adequate rendering to their works ; to give them kindly criti- cism and encouragement ; to use their compositions, when possessing merit, in professional work, and thus to lead on until a high degree of excellence is reached. Second, To establish right methods of teaching, so that not only a well classified knowledge of the subject may be obtained, but also that the highest degree of mental, moral and sesthetical development may ac- crue. For it must not be forgotten that we are educating men and women as well as instructing them in the science and art of music. Third, To classify and to adopt music in the various ways in which music is used in the home, the school, the church, society, etc., so that right music and proper text may be at hand and the benefit be certain and not accidental. Fourth, To establish correct models in musical interpretation. And Fifth, To place ourselves in line with the advanced educational thought, and progress of the times, and grow as the other departments in education do, and to disseminate this spirit until all who would be called musicians are competent themselves, and are in sympathy, and active co-operation with the thought of progress and higher develop- ment. The relation of the States to the National Association is that of a 133 MUSIC teachers' national association. lower to a higher body, both of which depend upon lesser organizations and upon the individual. The purpose of this relationship is helpfulness, and to be so the at- titude should be that of inquiry, suggestiveness, and advising, and not commanding and dictatorial. It must be remembered, too, that the obiect of both the States and the National Associations is to exert such influence that teachers may become competent, may be honest, may use right music and methods in their teaching, may know what to do and how to do it to develop the musical taste, knowledge and executive power of the individual, and the several communities in which they live. Then to extend this influence unti- every portion of the country is permeated and all are working in the line of higher aspiration and development. If there were no incompetency, no bad music, and no low and de- praved musical taste, there could be no warfare against the same, but only and inducting into right ways. But unfortunately there is the bad, and hence there must be the fight of the spirit of light against the spirit of darkness, the good against the bad. The character of the campaign should be for the greatest effective- ness. There must be the earnest co-operation of all the good, the exhi- bition of thes best models, and the inculcation of right things until the good shall grow up and dominate over the bad, until finally the good judgment of the people shall be only for the good. To thus establish the good and overthrow the bad is the main pur- pose for which all are working. It is greatly to be regretted that the benefit of association and mutual help is not universally recognized by musicians as a great natural law. Notwithstanding the many who attend our annual meetings, state and national, the fact still remains that the larger majority of musicians and music teachers thoroughout the country are working single-handed as they suppose. They ma}^ know much of music and talk learnedly of musical theory and history. Yet they do not seem to know that they actually must and do draw, though it be unconsciously, from others. They do not seem to know that each person is at best only a part of a whole. That it is a privilege to draw freely upon the brethren, and a duty also to give unto others and to let their light shine. The circulation is so slow and the route so circuitous between them and the main body, that both they and the body suffer in consequence. This single instance will call to your minds much that is not right among musicians, musical organizations and the general public and which are to be corrected. It will also be suggested to you that the earnest and persistent effort of broad teachers who appreciate their relations to the professional and general world, in their own sphere, and in conjunction with those whom they can induce to work with them to disseminate right views THE RELATION OF STATE AND NATIONAL ASSOCIATIONS. 123 among their pupils, their friends and the public, and then to work toward the State and National Associations in one means of reform. Then the musical and public press which are ever ready to take up their part in educating the public when aware of their obligations and method of procedure in the premises must be continuously, though wisely employed. Music teachers and musical people everywhere must be made cog- nizant of their obligations and aroused into activity in the performance of the same. Local, semi-state and state organizations will then be systematically and well organized, and their moral functions, including relationship to the national, will be well considered. Now the line of true policy may be seen and it is evident thai the relationship between the several State Associations and the National must be such as to foster and assist to the greatest degree this universal spread of general information on these subjects, and the arousing to action of all parties, musical and unmusical (for all are interested) until a right condition of things shall exist. There is great influence arising from our large annual gathering both in State and National Associations. Participation is a wonderful and magnetic power, and there is good reason for concluding that the pres- ent arrangement of getting out the best program possible and getting every one to come is an excellent one. But when probabilities as well as possibilities are considered it would seem that as an incentive to the State Associations as well as to the National a system of quite large delegations from the State to the National, and the delegation of such a character as to represent the best of the state in the several lines, is the best thing to be done, especially when it is considered that the influence of this great organization may be felt in legislation when important matters concerning music and musicians is desired or is under considera- tion. When delegations arriving from all states would see that the partici- pants in the national programs were selected from all sections of the country, would feel under obligation to be present themselves and to see that their appointees were also present. This, more in part, bring all states to touch each other. It need not hinder any who wish and who could, and yet are not delegates, from the enjoyments and direct benefits of the national meetings. A complete report of the state delegations, back to their constituents in addition to the information received through the press would cause the doings of the National to be felt in every part of the land, and would cause every section to feel that it had a part in the national, and this in our present discussion is the object of our desire. This is the conclusion to which our reasoning tends, and yet the whole thing must be managed not to smother or put back the flame al- ready kindled. It is manifest that both state and national could not be held near each other as to time, for there must be time for delegates to prepare for 124 MUSIC teachers' national association. the National as well as to report back to the State. And the two ways suggested are either that the state meetings be held about Christmas time and the National in the summer, or that the State Convention meet one year and the National the next. My preference would be for the former, as the great growth desired requires much cultivation, and the more con- ventions the better; always provided that the meetings are well prepared for, and do not lose their enthusiasm and their fervor. NEED THE STATE MUSIC TEACHER'S ASSOCIA- TIONS INJURE THE MUSIC TEACHERS' NATIONAL ASSOCIATION ? BY JOHANNES WOLFRAM, OF CANTON, O. One of the most gratifying signs of the times is the rapid growth in the standard of musical attainments. The musical public now esteem as never before, the educational value of good concerts. In the country- villages, not many years since, any musician coming into the place and singing or playing better than the local favorite, was as much worse in the opinion of this local singer's friends as there was difference in the quality of their performance. That is now fast passing away, for musical people are being educated up to a better standard by hearing our best artists, so that local favorites no longer hold the exhalted place that they once did. Concert organizations of all kinds, are multiplying. Instru- mental and vocal societies are forming in nearly every city and town of importance, these give series of concerts where good artists are heard in the solo parts. The increasing number of conservatories that are doing fine work, is • another evidence of advancement. In many of these conservatories are to be found superior teachers, surrounded by everything that will make their work the most effective. Not many years since, "boarding school music," was a synonym for superficiality and shallow pretence, while now some of these schools rival the best conservatories in courses of study quality of teaching and grade of work. They have their artists recitals, weekly lectures and musicales and are requiring the study of musical theory from two to four years. Well read and progressive musicians will all agree to the fact, that from more than all other causes combined, is this musical improvement due to the Music Teachers' National Association and the influence of its "Higher House," the American College of Musicians, not forgetting the State associations which are doing a grand work, a work that has been made possible through the success of the National Association. The work and effort that has been given to organizing the New York State Music Teachers' Association would have resulted in total failure if it had been attempted a few years earlier. We occasionally hear a weak crit- ieism of the work of the American College of Musicians, but this is nearly always something of a case "of the fox and the grapes." In defining a degree, we learn that it is intended to show simply that a man has in the opinion of a competent tribunal attained a certain 126 MUSIC teachers' national association. proficiency in certain branches of human knowledge. It shows also, that he has passed a number of years in successful study, Its value, however, lies in what it indicates as to the graduate's acquisitions. I for one cannot see why the American College of Musicians does not meet all the above calls. From a study of the history of some of our older and best known Colleges and Universities, I learn that their beginnings were not essentially different from that of the American College of Musicians. This college has the same legal authority to confer degrees and award diplomas that any College has. And as to musical scholarship, the ex- aminers and officers of the American College of Musicians do not need to be ov^r modest, even if the College is young. The work and progress of the College of Musicians have been steadily maintained and the examinations just closed in New York were the most successful of any. The test papers, I am told, were fully up to the standard and in some respects higher than heretofore, and yet a larger percentage of candidates passed a successful examination. This points unmistakably to the inference that students are preparing them- selves for their life-work with greater thoroughness. The College of Musicians moves along without bluster or noise but it is doing a great work. The Music Teachers' National Association has a grand mission in bringing out the works of our American Composers, and in giving papers on the more advanced theories and ideas connected with our art, and in the work given to its able committees, but not its least important work is, as fast as possible, to organize associations in the States that are not yet brought into line. The State Association should present such programs as will give the most and best praciical help to teachers and pupils. The State associations have a great work in reaching the millions of music lovers, through the efforts of our thousands of teachers, thus ele- vating music with all the refinements that this includes, to a higher plane than that of any other country. Moreover, the State Associations, are comparatively local, so that the average music teacher can afford to at- tend, (cannot afford not to attend,) while the magnitude of our country is such that the meetings of the National are beyond the reach of the greater number of the profession. The work of the State Association is in elevating the standard of teaching and artistic attainment, and in making a better grade of music popular among the people. One means of accomplishing this is by get- ting the public to read music journals, then they will be too well in- formed to be the dupes of poor teaching. They will then patronize and sustain all well directed efforts for improving the music of their com- munities. Dabblers in music are too numerous, and the public must be educated up to such a point that only good teachers will find employ- ment. The State associations need to help in forming vocal and instru- mental societies in all of the larger towns of our country. They must also use every legitimate means to have vocal music STATE AND NATIONAL MUSIC TEACHER' S ASSOCIATIONS. 127 taught in the Public Schools, by well qualified, professional and day- school teachers. They must bring the public up to a better appreciation of the social, refining, educational and moral value of music. To induce the State Legislatures to put vocal music in schools on a footing equal to that of other studies. By getting the county and local newspapers to give more space to musical articles and news, and especially to music in the schools. When the State associations teach the public to a better appreciation of the value of music, there will be a greater demand for books on musical history, biography and works on musical theory and esthetics, and these associations must get our intelligent amateurs to be more active in these lines. With this more general awakening, our summer music schools will flourish. Not that a few weeks of study will make a finished musician, but the teacher who already has a working knowledge of his art will get many ideas that are new and valuable to aim and his pupils. He will get inspiration and enthusiasm for his work, from associating with ambitious fellow students and from contact with leading teachers and artists. In the present state of our national development in music, I bid the summer music schools God speed. One necessary work of the State Associations is in getting our teach- ers to appreciate the music of the best American composers, and to use more generally in their own teaching. Another valuable work for them is in getting teachers to give pupil's musicales. Their value lies in bringing pupils, patrons and teachers to- gether to study the works of some composer, or the compositions of some epoch in musical history. They give an incentive for better practice, and the teacher's whole class will be lifted to a higher musical plane by them. They give pupils confidence to play before an audience, increase the pub- lic interest, and will educate our patrons up to demanding nothing but the best things in music. Our State Associations must convince the rank and file of music teachers that they cannot afford to ignore and neglect the Association idea. Teachers must become interested in preparing pupils for the exami- nations of the American College of Music ; but, to do this successfully, they must work from higher ideals, and these ideals are formed largely by hearing the fine artists that give the association recitals and concerts, and in the valuable ideas there advanced on all points of interest to teachers. This is work that nothing but the State Associations can do. Our church organs should be played by organists who are teacher* and not amateurs ; ^and here again is a work calling for the influence of the State Associations through their county vice-presidents. Church music and Sunday-school music must also be improved. Through the State Associations and their county vice-presidents, our teachers must be taught the great educational value of artists' recitals, and how easily they can be conducted, even in the smaller towns. The county vice-presidents of the State Association can get the local lecture courses to have a due share of recitals, as well as of lectures and readings. 128 MUSIC teachers' national association. These important state officers can also see to it that the towns and schools shall have musical works in their libraries, and get the teachers to mark out course of a musical study or reading for their pupils. Tonic Bol-fa has vitality enough to care for itself — notwithstanding that it has been killed so many times that there has not been sold in our county only a little over two hundred thousand books on that subject — and also spare a helping hand to the work of the Association, From the most excellent results and thorough work that it makes possible, I wish to say a word for that form of State Associations that provides for county vice-presidents and delegates to them the above wide fields of musical activity. County and city associations are doing good work, and these are a part of the State Association's interests. Music teachers are now men and women who think for themselves, and have ideas of their own, and many of them can express their ideas from the platform. We now have hundreds of good lecturers and essay- ists on musical subjects where we had but tens in the early years of our Association. It is commonly believed that when a man has a good idea he wishes for an audience to whom to tell it. If he can also think while on his feet, he will be active in debate. When most of the States have efficient and well-organized Associa- tions, it is more than probable that they will send duly elected and quali- fied delegates to the National Association, and these will be its members; but perhaps it will also have a list of associate or honorary members, as well as the official delegates. But, if this does not prove to be the case I belive, from the experience of the last few years, that there will be enough progressive teachers coming to the front, through the influence of the State Associations, to soon give the National Association aa large a membership as it can best serve, and its members will be more and more from the leading musicians of our country. But, to make all of this effective, there must be a lively enthusiasm, and this indispensible and all-powerful element of success would be lack- ing if our meetings, especially those of the State A8sociation8,5were held but once in two years. Is not the work that the State Associations have yet to do too overwhelmingly and imperatively great to be accomplished in bi-ennial meetings? But, with meetings every year, the members go to their homes full of enthusiasm, and from their glowing accounts they get many people interested, and so the good work goes onward. The re- sults of my experience convince me of the necessity of annual meetings for our State Associations. When the Music Teachers' National Association was young and but little known, it held its sessions during the Christmas holidays; but before coming to the days of strength, by waiting for a natural growth, which has come by its proving its right to live, it changed its time of meeting to the last of June and first of July, I believe that too much faith is placed upon this change, and that the increase of membership is due more to the growth of the association idea than to this change of date. We are to recognize the fact that teachers give very few lessons for STATE AND NATIONAL MUSIC TEACHEIIS' ASSOCIATIONS. 129 about two weeks during the winter holidays, and especially is this true with teachers living in cities and large towns. Furthermore, from the ^jflrst of May till in July multitudes of teachers and musical artists go to Europe, either to fill engagements or on their vacations. And it is this class of musicians that we wish to have with us, and especially to place them on our programs. The greatest difficulty in getting up superior programs for the New York State Music Teachers' Association has been caused as above hinted, and I appeal to the Program Committees of other States, as well as those of the National, for the verification of this stub- born fact. As the subject of change of date will be prominent in the next meet- tings of the Association, I will engage to attend the meetings of a State Association, and then travel the distance necessary to be at the National. It is a great tax on one's strength, especially during the heat of the summer season ; but, if the National Association would hold its meetings during the last few days of December and first of January, then tbe State Asso- ciations, which have so great and necessary work, would in no way conflict with the National, but will directly help it to a still greater pros- perity and influence. If the National Association should hold its meet- ings in the winter, we would have invitations to visit the cities of our Southern States. One of the greatest items of expense to the State Associations is in securing the addresses of music teachers and musical people. If their meetings were held but once in two years, as some are now agitating— and I believe so unwisely — these addresses for a second and fourth year would be practically worthless, because of removals, marriages and deaths. The greatness of our art supplies a place broad enough for both the State and National Associations, and I cannot believe that the one can over- shadow the other, while I do see, that when the Divine Art has reached its true station, both will be a mighty and powerful influence for good in making the world better and happier. This question of dates should be made to harmonize, if a compromise can be had, by placing the time of the National meeting in the Christ- mas holidays. I believe that will prove a strong measure in the gaining- of the influence of the Music Teachers' National Association, and yet a greater means of strength to the State Associations, which latter organi- zations are the channel through which we are to bring the music-loving masses of our country up to a higher plane. We are to remember that tbe art of teaching music is making wonderful advancement, and our teachers must have all the assistance that annual associations can give in helping them keep step with the strides of progress. If it were not for this refining, elevating and moral — yes, religious— influence of music upon the people, neither you or I would prosecute this association work with such vigor and interest. Shall we meet annually or biennially ? As an advocate of biennial meetings of the Music Teachers' National Association, the program Committee has invited me to present my views. 130 MUSIC teachers' national association. I believe biennial meetings are demanded. First, By the highest interests of the musical art. Second, By overtaxed officers. ♦ Third, By the material interests of the musical profession. Fourth, To prevent antagonism between State Associations and the National Association. I. To insure the life and perpetuity of the National Association, the high art standard of our meetings must be maintained. Last year at Philadelphia serious shortcomings were evident. If this year is a step toward an ideal convention, it is due to influences that conspired to make it so, which may prove inoperative in the future. Our national meetings are planed upon a gigantic scale, hence the program and executive committee is always pressed for time. Many de- tails would be more carefully considered and many features more care- fully prepared, if time permitted. Nothing should bear the stamp of un- due haste. " Festina lente." "Make haste slowly" should be our motto. Haste is antagonistic to true art. Biennial meetings are the solution. II. The strain upon officers, who believe in the conscientious dis- charge of duty is something tremendous and sufficient to undermine the best constitution. The years of office of the chairman of the Executive and Program committee have been to them years of great sacrifice, when every interest of theirs was sacrificed to the welfare of the National Association. Our great leaders, Lavaliee, Leckner, Heath, Penfield and others had for a time their health impaired and if Hahn, who is known not to have slept with both eyes closed the past year survives un- hurt, he must be made of indestructable material. Shall we continue to jeopardize the lives of our best men ? Bienniel meetings will prevent this. HI. Our profession is a poor one. Poverty and art are seemingly related. It takes the vicissitudes of life to develop the emotional nature. From the middle classes whose watchword is progress and whose daily labors mean strive; our talented music students, our teachers, our artists, our composers emanate. If we endeavor to improve our material condition by raising the price of tuition, we throw ourselves into the arms of the wealthy, which is equivalent to teaching indolent and strive- less pupils. This would be a great detriment to legitimate art. Our pur- pose emphasizing, that we are not blessed with the material goods and that the strain upon our purses to attend annually the National meeting is TOO GREAT and often at the expense of the comfort of our families at home. Make the strain lighter by adopting biennial meetings. IV. This year the Associations of Ohio, Indiana, Illinois, Kentucky and Michigan have abandoned their state meetings at the solicitation of the National official household and to oblige the National Association. If you hold your meeting next year in any of the states mentioned, you will meet with antagonism. You will be asked to postpone the National STATE AND NATIONAL MUSIC TEACHERS' ASSOCIATIONS. 131 meeting, and if you fail to return the compliment, not even our Napol- eon, J. H. Hahn, will prevent a Waterloo. Let us be prudent and instead of inviting the ill-will of the State As- •ociations, ensure their good will by determining upon biennial meet- ings. Art and financial interests determined biennial meetings for the Beireuth festivals. Let us study the lesson contained in this fact. Our Art labors should be performed with deliberation and circum- spection. In the United States we are apt to go to extremes. To every- thing is applied electric force. V. The constitution should be amended that labors of the house- hold be spread over two years, and not, that the first year be idly passed. I believe that if the President-elect appoint within ninety days a com- mittee to study what changes in the constitution (if the adoption of bien- nial meetings take place) appear advisable, and that such changes be adopted provisionally until the next meeting, when they should be reported for adoption, the whole affair would seem adjusted. Dates for sending original compositions, dates of committee meet- ings, etc., should occur earlier under the biennial regime, as also the pub- ilication of the report. VI. Biennial meetings will further the consumation of the organic union between the National Association and the State Associations. The time for a move in this respect has come and a powerful committee should be appointed to further study the question and report a plan for adoption at the next meeting. VII. The opponents to the introduction of biennial meetings claim that it will abate the interests in our propoganda and meetings. This conclusion is certainly not warranted by facts. The interest in the meet- ings of the Music Teachers' National Association must receive its life and vigor from the artistic and educational standard of the program. If the present high standard is maintained, we need not fear. In the years when no National meeting occurs we give our attention to State meet- ings, and prosecute our art and professional interests in these channels, which are the veins of the Music Teachers' National Association. Thus there is no cessation in our work. If our interest in the National Asso- ciation is inspired by humorsome sentimentality it is to be regretted. Let us be guided by the facts and the evidence, and not by whims and no- tions that 'have no ra^S(?7i cZ'6^re. Are the Beireuth festivals less attrac- tive because they occur not annually ? The May festivals of Cincinnati resulted in a "deficit" as long as they were held annually, now under the biennial rule, they command a surplus. SUPPLEMENTARY ESSAY. BY WILLIAM WOLSIEFFER, OF PHILADELPHIA. Mr. President : This is a subject to which I have given much thought, being filled with the desire for the complete success of both National and State Associations. We meet the adherents of each side of the question, who range themselves thus in consequence of being possessed of the belief that National and State bodies cannot co-exist. Those who openly avow that State Associations will kill off the National body, are a great stum- bling-block to the formation of the former, which we are now experi- encing in Pennsylvania. And it is therefore of the utmost importance that such who fear the downfall of the National Association as a result of the success of State Associations, become disabused of such an idea. Not only do the Constitution and By-Laws of the respective National and State bodies encourage their co existence, and contain reciprocal provisions, and thus refute this supposed antagonism, but in their very nature following the same great objects must strengthen each other. Generally a Supreme body is the outgrowth of subordidate bodies com- bined by representatives, through which a very intimate co-existence results. Our Supreme body sprang into existence first, and gradually the subordinate bodies are following. We are building downwards, and are yet lacking that intimacy which will insure a permanency of the necessary relationship between the Supreme and subordinate bodies. To establish such relationship between our National and State Associa- tions would be my first plan, whereby the latter would have representa- tion in the former, with the usual taxation for the benefit of the higher body. If, however, the present relationship is to be continued, I would strongly advocate as my second plan, as has been already suggested by others, that the National Association hold its meetings every two years, to alternate with the meetings of the State Associations, which are also to take place every two years. This arrangement will have many advantages for individuals which it will not be necessary to enumerate, and above all will take away any pretext for partisanship now unneces- sarily prevalent. The co-existence of the two organizations will be assured, and our art thereby greatly benefited by the resulting increase in the work for its advancement. . A flourishing Music Teachers' Asso- ciation in every State of the Union would give such an impetus to the cause of Music, that it would place the National Association upon a firm and lasting basis. I suggest the calling of a Convention of representa- tives of the National Association, existing State Associations and repre- SUPPLEMENTARY ESSAY— DISCUSSION. 133 sentative music teachers from States having no association, for the pur- pose of maturing a broad scheme of reconstruction of the relationship between the bodies, whereby all objections can be met and permanent co-existence secured. All narrowness and sectional exclusiveness must vanish, and a broadness and reciprocity take their places for the one great purpose of all, the greatest possible advancement of the cause and art of Music. ELEMENTS OF SUCCESS PERTAINING TO MU~ SICAL INSTRUCTION IN PUBLIC SCHOOLS. BY BENJAMIN JEPSON, OF NEW HAVEN, CONN. The country we call the United States, in which we live, is so new as compared with the countries of Europe, that, while our civilization has advanced at a more rapid rate than that of any other nation, and our progress is the wonder and admiration of the world, at the same time we have not had time to cultivate the finer arts of life that give the finishing beauty to the social life of Europe, and which are embodied in the one word, — culture. It is an old saying, that " He who can write the songs of the people can determine its institutions." I would go fur- ther than that, and say that he who can teach the youth of a nation to understand music, and to make it as natural to them as is the language they speak, does more for the civilization of that nation than can be done in any other way. American educational institutions, in so far as our common school system is concerned, have long since passed the era of the "three Rs." The times demand more of our instructors; our children have a right to demand more, for, in the onward and upward advancement that has characterized this country, our children are emphatically "the heirs of all the ages in the foremost ranks of time." If our children are taught to read music as they are taught to read anything else, they will grow into an enthusiastic love for it, and if nature has not gifted them with voices, it will have given them deft fingers, that can evoke from the various instruments such sweetness as will make joyful music in their homes. If childhood is the time, most assuredly the public schools are the place in which to lay the foundations of an education, be it musical or oth- erwise. Without doubt the outlook for musical progress in this country is more favorable at the present time than ever before, and yet as musi- cians, we know that the public appreciation of good music is an uncer- tain quantity, and fickle at best. In reference to musical instruction in public schools, it is a difficult matter, in communities where the subject is entirely new, to create a sentiment in its favor, especially if it is to be taught and paid for as other branches are. In many places those wha support the schools look upon music as a talent or an acquirement that is possible only to the few, and to bfr maintained, therefore, only as political or financial expediency may dictate. I regret to say that in this- matter the musical profession itself is no* wholly blameless. In all public enterprises the public is largely influenced by the attitude of those who ar& MUSICAL INSTRUCTION IN PUBLIC SCHOOLS. 135 supposed to be the most interested. The success of our colleges, schools, piiblic charities, military establishments, etc., etc., is due in great meas- ure to the tireless zeal of those who best understand their value and importance. The musical fraternity should be first of all to recognize the importance of implanting in the minds of the children a knowledge of music as thorough as are the principles of English grammar or of ele- mentary mathematics. Moreover, if viewed from a selfish standpoint, in what better way can music teachers, music dealers, musical conduct- ors, and manufacturers of instruments generally, subserve their own interests than by giving their heartiest support to the plan of musical instruction in public schools? If I may be allowed to quote my own experience I will say that in New Haven, where I have been honored with the public confidence as Supervisor of Music for twenty-five years past, the outside music teachers, and agents of every department of musical industry, have acknowledged to me over and over again their indebtedness for success as a result of musical instruction in the schools. The public has ever been willing to disburse liberally for the privi- lege of hearing good music, whether foreign or domestic, but it is not yet sufiiciently alive to the fact that a good article of home manufacture may be had with a limited outlay. If a very small proportion of the money expended in supporting foreign opera companies, foreign orches- tras, foreign singers and players of all degrees of excellence, were appro- priated to the maintenance of sound musical instruction in the schools for a single generation only, good music of the domestic brand would fully supply all the demands of a music-loving people. The public must be made to realize that musical proficiency, like perfection in any other calling is a growth, and can be obtained only in the natural way. If skillful mechanics are required, boys are educated in the use of tools. The vast army of agriculturists are recruited from the boys on the farm. The school-ship supplies the Footes and the Farraguts of the navy. The cadets at West Point become the heroes of the civil war, and so on ad infinitum. No one doubts that, with corresponding attention given to the musical education of the young, the great artists of the future will be the boys and girls in the primary schools of to-day. It may be said that artists are "born, not made." It is equally true that thousands of embryo artists die for lack of proper cultivation. Let us now inquire what are the elements of success in this great work? It is a trite saying, and one worthy of all acceptation, that "nothing succeeds like success." The only question is how to succeed. The first and chief element of success in public school work (as it seems to me) is a good teacher. It is no disparagement to say that not all good musi- cians make good teachers, more especially in the training of children. The public school music teacher should have some of the qualities of a general in knowing how to organize. In the exercise of patience he should be a veritable Job. He should possess supreme tact in manage- ment. He should know how to put away discomfiture and conceal dis- gust. He should be able to inspire his class with enthusiasm. He 136 MUSIC teachers' national association. should be fertile in devices for securing and holding the attention of children. He should have no vinegar in his composition, on the con- trary he should be the embodiment of cheerfulness and never show signs of weariness. In addition to all these accomplishments he should have some knowledge of music. Most important of all, he should have a cuticle tough enough to withstand any amount of public castigation. Ladies and gentlemen, I trust you will not suspect that your speaker is posing as a model. I only wish that I may be able to approximate my own ideal. It is quite possible, however, that a long period of public service has supplied me with the requisite strength of cuticle. The great mistake is oft times made of employing artists whose great forte lies in their ability to interpret music, not to teach it. The most profound in knowledge are frequently the least capable of imparting the same to others. The ability to teach, and the ability to interpret, rarely inheres in the same person; in fact, it is somewhat dangerous to possess both qualifications. In a few instances which have come under my own observation, the artist has captured the teacher, and ignominious failure in the school-room has been the result. In all the relations of life, the straight and narrow path of duty is a most difficult one to follow. It is hard to resist the solicitations of parent or pupils for a piece to play, or a song to sing. Moreover, it is much easier to float with the current of popularity than to swim against the tide. We know that teachers of all grades, both public and private, are amenable to these charges, with this difierence, however, that the indolence and misdeeds of the private teacher are kept in the dark, whereas with the public school teachers, the "sunlight of publicity" is ever blazing upon us. To my fellow-teachers in public school work, I would say, ours is a profession by itself, with possibilities extending far beyond our imme- diate vision. Our pupils are as a thousand to one of those in any other department of musical instruction; we may, therefore, take comfort in the assurance of a large opportunity. If we cannot be great in the inter- pretation of music, we can and may be great in moulding the material of the sublime future, and in laying the foundation of a musical super- structure in this fair land of ours, which shall be the admiration of the nations. No one here believes that our country is destined always to follow. The time is coming, and is not far distant, when in music, as in everything else, America will set patterns for the world. It is not doubted that all music teachers have the same grand object in view; opinions differ widely, however, in reference to the things to be taught, as also in the manner of teaching them. My own views are radically different from those of many who have an interest in public school work. It may not be surprising if, in oft-repeated discussion on these points, I am liable to repeat myself. The popular idea of music in schools is, and has been, its use as a recreation to relieve the tedium of study, otherwise to tickle the ears of parents and school committees. For a quarter of a century I have been combating this idea. My contention has been mainly with theorists not MUSICAL INSTRUCTION IN PUBLIC SCHOOLS. 137 directly engaged in the work, whose arguments would not be listened to for a moment if applied to any other branch of education. The eyes of the public are being gradually opened to the condition of things which has hitherto prevailed in the schools, and it affords solid satisfaction to the advocates of the science of music versus rote-practice, to know that public sentiment is being daily and hourly enlisted on the side of music as a study. Nevertheless, much remains to be done, and unless I die young I expect to be engaged in future contests for the opinions which I enter- tain on this subject. If I may be allowed to refer to personal experience in this field of labor, I may say that I feel my position to be impregnable in view of a vast army of pupils who have been graduated under my own eye with ability at least to read the music which they sing. My position is this: In music as in all other studies, the ability to read, and thereby to interpret and understand, must ever be the first great object in education. The highest and best incentive to sing music is the ability to read music, and this I believe to be the God-given' right of every child in this enlightened republic. If we would become a nation of singers we must look well to the musical education of our children. "Why is it that outside of the large cities it is difficult, if not impossible, many times, to bring together a chorus sufficiently large to give even a tolerable rendering of a classical composition? Why is it that in the country at large, many church congregations and Sabbath- schools are unable to sing' the simplest melodies (leaving out the harmonies) until by dint of hard practice the music has been fairly stuffed into the ears of the singers? Why is it that even in the large cities, numbering their hundreds of thousands, it is considered a notable event to bring together a chorus of a few hundreds? The choral works of the great masters, which should be familiar as household words to the music-loving public, are to the majority of people as unfamiliar as the dead languages. To say nothing of thousands, how many hundreds are there in the communities here represented, who can recognize the choruses of six leading oratorios which might be named? Even the factory people of Europe can discount us in a test of this kind. « On entering a large room in one of the potteries of Burslem, England, my ears were saluted with the inspiriting strains of the "Hallelujah" Chorus. The complicated phrases were mastered without difficulty, and all appeared to sing with the utmost freedom. As I listened to that performance, the only objection that I could offer was that it appeared to be in opposition to my opinions of rote practice. In the organization of this National Association of music teachers, it cannot be too strongly urged that we have assumed a vast responsi- bility. We have virtually taken upon ourselves the direction of musical education in this country, and to us the public will naturally look for guidance in all that pertains to the great cause which we represent. If we would attain the highest type of musical culture in this country, it behooves us, as the supreme representative body in music, to look well 138 MUSIC TEACHEKS' ^'ATIONAL ASSOCIATION. to the public schools as the musical springs of our public life, ever keep- ing in mind that fundamental principle, "The fountain never rises higher than its source.'" Having assumed our share of responsibility, the next question is, how shaU we effect desirable reforms in musical instruction? Surely not by indorsing or catering to the poll parrot method of music which has been and still continues to be the bane of all musical progress wherever practiced. Whatsoever ye sow, that shall ye also reap," is not only scriptural' but it is also good common sense. Methods of rote practice cannot fail to produce communities of rote singers. It is by no means unusual to hear it remarked of good vocalists, They cannot read the music they sing." It is quite probable that those of you who have been entrusted with the organization and direction of singers, can each relate some bitter expe- rience in corroboration of this statement. In this connection, permit me to say that I do not have reference to those primary methods inculcated by our worthy leader and philosopher in music, Mr. L. W Mason. Of that gentleman I take pleasure in saying that I regard him as the real orig- inal Jacobs of the public school music in this country, and one to whom the musical world are under many obligations. TThile not agreeing per- fectly with Brother Mason, I believe that a certain amount of rote prac- tice is necessary and indispensable as a basis of instruction in the lowest primary rooms. I do not hesitate, however, to denounce those senseless and brainless methods which would permanently substitute song-singing for the elements of musical notation. Public school instruction cannot be solely adapted to the capabilities of children with phenomenal voices, or who have inherited a natural talent for music : but, on the contrary, must be made applicable to aU conditions, races and creeds, from lowest to highest. It cannot be expected that the public school instructor will turn out finished artists. The very best he can do is to supply mate- rial to be moulded and fashioned by the profession at large. It must be remembered that his pupils are numbered by thousands and tens of thou- sands, and if the whole mass is to be educated in the elements of music, it must be in the most practical way. In music, as in all other branches of our graded system of schools, the most successful results are accomplished by daily drill. This, of course, would be impossible to the special instructor in a school district of any size. The method of instruction which divides responsibility with the regular teacher has been found to be the best way to insure success. It also furnishes an additional reason why too much should not be at- tempted. By this plan the regular teacher becomes interested in the pro- gress of his pupils, and when it is remembered that the authority and in fluence of the regular teacher is potent in his or her own class, it cannot be doubted that working in harmony with the special instructor success is assured. It has been objected that all regular teachers are not gifted with natural qualifications for the work. In my own experience this has been of rare occurrence. As a matter of fact, some of the most success- ful teachers under my supervision are those who cannot sing at all ; but. MUSICAL INSTRUCTION IN PUBLIC SCHOOLS. 139 being well-versed in the theory of musical notation, and possessing a teacher's tact, they are enabled to make others do what they cannot do themselves. In the lowest primary rooms, where the children learn by imitation, the voice of the teacher is necessary, of course, in giving out musical cadences, but even here disqualifications may be overcome by an ex- change of recitations with the teacher of some adjoining room. If I am asked where systematic instruction in mu»ic should begin, I can only reiterate what I have often said in public before. " Let musical instruction begin in the lowest primary rooms on the first day of the first week in the school." In music, as in everything else, the foundation must be laid before the superstructure is built. To begin musical instruc tion in upper grades, is only another instance of building from the top down. I would emphasize the principle that the bed-rock of all ele- mentary instruction is found in the lowest primary grades. To any who may be skeptical as to what may be thus accomplished, I can only give the results of experience. Little children of the lowest grade, with fif- teen minutes' drill per day by the regular teacher, are enabled, at the end of the first year, to sing at sight any exercise in the key of C which may be written within the limits of the scale and without intervals. To those unfamiliar with the work, I will say that, with the best methods devised, primary children learn to read notes long before they learn to read words, and this they do with fifteen minutes per day given to note- reading, as against one hour, more or less, per day given to the other kind of reading. More could not be expected. It may be further stated that in all properly graded courses the pupils of each succeeding room are also enabled' to read at sight any exercise appropriate to their grade of insiruction. It is not within the scope of my intentions at this time to describe the modus operandi, but I am sure that progressive instructors will be at all times ready to vindicate this statement. I have said much in this paper in opposition to rote practice as a basis of musical instruction. Much, however, can be said in its favor, if considered as a recreation or from a sentimental point of view. Through the instrumentality of rote songs many lessons in loyalty, reverence, obe- dience, filial affection and the other virtues may be taught, which, if with- held until children can actually read music, might never be learned. Thus considered, rote singing becomes a legitimate part of school work^ and may be indulged in throughout the lower grades, or, as in my own schools, until the children commence the practice of two-part music. But, keep the song subordinated to the study, and let no conscientious teacher charge up the number of songs learned as so much to the credit of musical knowledge. In a word, let it be always understood that recre- ation in music may follow study in music. Under no consideration should the time for elementary drill be encroached upon. Let the two kinds of practice be considered apart. If the time for song practice should be limited, I would discrimitate in favor of National songs. Let 140 MUSIC teachers' national association. the children be early imbued with sentiments of loyalty by the practice of patriotic music. If I might be allowed just one little sentiment of spread-eagleism on this glorious anniversary of our National Independence, I would say that, as heirs of the grandest inheritance ever bequeathed to man, we have a duty to perform, not only as teachers, but as American citizens. Within a short time past the Grand Army of the Republic in different parts of the country have^inaugurated the beautiful custom of presenting flags to the schools. I learn from Mrs. Thomas (who, by the way, deserves a passing compliment for the good work she is doing in Detroit), that she furnished the music for no less than forty flag presentations during the past year. While expressing a hope that this custom may continue, I also desire to express a profound conviction that, as public school teachers, we have a duty to perform in educating the children to love, revere and defend the flag, with all that it represents. Fellow-teachers, you will agree with me that this desirable result can be obtained in no better way than by the regular practice of our na- tional songs. Let me urge, then, that at the proper time, whether by rote or by note, this practice of our national airs shall commence and continue in every grade, from the primary to the high-school — all this, believe me, without abating one jot or tittle from my previous argument. And, now, a word in reference to the use and abuse of children's voices. Thers is something enthusing in a loud chorus, which teachers are too apt to permit. The daily practice of loud singing eventually leads to harsh singing. This fault is more liable to occur in the practice of songs than in the singing of exercises, as the former are more exhile- Tating than the latter, and are not infrequently permitted simply to occu- py the time. A practice which calls for the severest criticism is that of some of the regular teachers who "wind up" their classes (so to speak), and then set them running without let or hindrance to the end of the song — the longer the better, as it affords opportunity to attend to other matters while the children continue the so-called singing. It is not well to go into the technicalities of vocal culture, especially if it be at the expense of those elementary principles which can be best learned in childhood, and which are essential in forming a basis for all musical knowledge. How absurd these methods seem, if applied to any other branch of education, and yet, with equal propriety, it might be claimed that to practice the art of oratory, or to memorize poetry and prose, would be the proper way to teach little children how to read, Child- ren sing as sweetly and as naturally as birds, if properly restrained. Be- fore singing a phrase, let it be long or short, let the class be cautioned in reference to the quality and volume of tone. To avoid strain of voice great care should be exercised by the teacher in not pitching the exercise too high or too low. To insure accuracy in this matter every teacher, in the absence of an instrument, should be equipped with a tuning-fork or pitch-pipe. In reference to vocal culture, it may be said that children learn most by imitation. Not one child in a hundred will fail correctly MUSICAL INSTRUCTION IN PUBLIC SCHOOLS. 141 the first time to imitate a loud tone, a soft tone, a sweet tone, or a harsh tone. On the other hand, scarcely one in a hundred will succeed the first time in giving the required tone when hampered by technical ex- planations. On the whole, 'twere better, far, perhaps, that children should sing in blissful ignorance that they have such things as vocal chords, dia- phragms, abdominal muscles, etc. All that is needed in this respect is a few common-sense rules in reference to erect position, full breath and sweet tone; such as will suggest themselves to any competent teacher. In the exercise of these suggestions no school need ever fail to have sweet singing. An essential element of success, and one which I deem of the last importance in the study of music, is periodical examinations. What sort of business is that which never takes account of stock? What sort of supervision is that in any department of industry which makes no pro- vision for inspection of some sort? By periodical examinations in music, I do not mean a wordy display of theoretical knowledge. I have more particular reference to regular tests in sight-reading. How often have we seen classes, apparently well-versed in theory, who could answer all questions put to them, and yet failed to read a simple exercise at sight ? How often, too— and I am ashamed to acknowledge it — have we seen music teachers shrink from the sight-singing test? This, to my mind, ig a serious evidence of ineflaciency. A teacher, doing honest work, is at all times ready for inspection. In conclusion, ladies and gentlemen, permit me to thank you for your patience in listening to my rambling remarks. I would also express my obligations for the honor conferred in being invited to address you. Conscious of my inability to instruct a representative body like this,I am, nevertheless, glad that I have been enabled once and again to respond to the summons of your Program Committee. I desire to express the great interest which I feel in the success of this Association. I only wish that I had the gift to express all that lies in my heart. I do not believe that this society is maintained, as has been charged, for purposes of mutual admiration. On the contrary, I believe that I voice public sentiment when I say that, all criticism to the contrary notwithstanding, the M. T. N. A. has done, is still doing, and will continue to do heroic service in the promotion of the art of music. Fellow-teachers and friends of the great cause, if there is strength in unity, let us test the old adage. Let us stand shoulder to shoulder, not only in the aidvocacy of every effort which has for its object the pro- motion of true education in music, but in the denunciation of all pre- tense and sham. Do this, and I doubt not that in the future, music, aa an institution in this country, will be elevated to that commanding posi- tion which, by divine right, it should hold in the hearts of the people. MUSIC IN PUBLIC SCHOOLS. BY P. M. BACH, OF MILWAUKEE. There is a growing tendency in our progressive and philosophic age to study closely the physiological development of the brain, and at the same time, combine therewith the proper and assimilable food for its exercise, in such a way, that neither the one nor the other shall suffer; and we can congratulate ourselves upon the success that has already been achieved in this departure. This is no less true in music than in the languages or the sciences. We have here assembled to consider ways and means for the most advantageous teaching of that important educational factor, music; and before proceeding to the further discussion thereof, it is proper to in- quire into the desirable aim of its teaching in the common schools, so that we may not drop into unphilosophical, hap-hazard methods, which have, I am sorry to say, pressed themselves before the public. We are to consider that we have virgin soil upon which to sow our seed, and therefore should we be guarded as to the purity of that seed, if we would expect unmarred growth and fruition. My extensive experience in language and music teaching has given me opportunity to observe methods and results as cause and effect, and I have^arrived at conclusions which I beg leave, in this brief essay, to present for your consideration and discussion, A plan of instruction is only then truly pedagogic, when it is adopted to the child's age and requirements. To bring this more forcibly before ourselves, let us glance at the process of evolution that takes place in the child's mind from its infancy to more mature develop- ment. Physiology demonstrates that a child's brain at birth is com- posed of cells still undeveloped in their functions, yet, by heridity, have a latent capacity. As this child grows older, and impressions are made upon the brain, through the medium of special senses, these cells begin to develop and become capable of independent thought and action. A very interesting illustration in support of the development of relative thought and brain action can be made with an infant, by placing an ordinary light before it, which, being a strong excitant, will soon attract its attention. The idea of light once developed, relative develop- ment thereof goes on very rapidly. If we now take lights of various colors, green, red, blue, etc., the babe, though not many days old, will see them as lights, yet appreciate their differences, as its eyes restlessly wander from one to another, clearly showing an inductive development in the recognition of light and its modifications. Other objects not appealing to the light center, remain unnoticed, being abstract. Similar observations can be made in the development of the sense of hearing, or MUSIC IN PUBLIC SCHOOLS. 143 any special sense. It will be observed that this development can only go on in those sections of the brain upon which impressions are made. Phrenologists and their science rely upon this fact, and well understand its importance. Thus it is that a child, brought up in the counting room is likely to develop extraordinary ability in the grasping of numbers. This development goes on in the various cerebral sections, and in order to remain inductive it should not start from different points in the same section, but from a single nucleus, and spread to the cells in its immediate vicinity, going from the known to the nearest unknown, until both become axiomatic. If it were that this development took place from various points of the same section, we would have a series of abstract ideas having no relation with each other, as is shown in injuries of the brain, when rela- tions, once clearly formed, have been broken by the fracture of the con- necting links in the same section. This is an interesting fact, and has a direct bearing on the subject matter in hand. Let us now see what use we can make of it in its educa- tional aspect. Deductions from the above clearly show that, to work most profitably we have to do so inductively, that is, begin with some intrinsic unit of thought, and branch out by degrees in all directions, from the known to the unknown, avoiding abstract ideas, or in other words, development of new centers in the same cerebral section, until, if desirable, it covers the whole field of instruction. In this manner nothing will ever seem abstract, since it proceeds from one center of development, and the child will always have a certain amount of posi- tive, practical knowledge, no matter in what stage of its course it may be interrupted. Let us now make direct application of the foregoing to the teaching of music. We here have to deal with the development of that section of the brain which receives its impressions through the special sense of hearing. But now comes a question which has been so variously answered, and, as there is but one truth, so can there be only one correct answer. How must we proceed, and what shall we consider the intrinsic unit, or initial step, in the musical development of the hearing center? How is it possible that the arbitrary scale and incomplete, vague musical exercises are advocated as this initial step ? Are those things music, or only the natural outcrops of the subject music, and therefore must they not remain secondary thereto ? Pope says: "The proper study of mankind is man." So, in music, its study should be music. We must have a purely musical idea upon which to broaden, leading the child's mind to grow and develop by giv- ing it musical nourishment from the inexhaustible stores left by the masters of school music. A very general mistake in teaching singing to young children, is giving instruction in notation without this necessary preparation through a systematic course in rote-singing and the recognition of complete musical forms by ear. First of all, the child should learn to listen, then 144 MUSIC TEACHERS NATIONAL ASSOCIATION. to imitate, It is not in accordance with the nature of the child's mind to present objects analytically. Before explaining the parts that consti- tute them, we should familiarize the child with their forms as wholes. To know the reality before learning the formula is a universal rule of elementary instruction. As the idea and use of numbers are taught before notation, and practical language before reading, so should the practical of learning and singing tunes, or complete musical forms, by imitation, from good models, precede the study of musical notation. Indeed, all successful instruction in our primary departments is based largely upon the rote principle, after the adage, "Repetition (rote) is the mother of perfection." This precludes the modern acceptation of the term "rote" for hap -hazard. When we see a pupil of an advanced class counting on his fingers while ciphering, the lack of proper rote- training in connection with objects, in his early years, is strikingly appa- rent. The same may be said of his former instruction in reading, when we hear him plodding along instead of grasping a phrase, or even a. whole sentence at sight. It is true that the amount of intelligence required in singing by rote is limited, yet it is all that a child at this stage is capable of exercising^ ' profitably, and if properly directed we can, through this avenue, form correct and permanent habits of thought and expression in music The force of habit is an important educational factor and should not be under-rated in its influence over little children, whether properly or otherwise directed. To teach them at the very outstart the unmusical scale as the musical "unit of thought," as well as the dry elements, pro- miscuous skips, and incomplete or unbalanced exercises from notation, though with apparent success in the hands of the expert, is far from developing a primary musical thought, or a desirable habit. Why, then, should we run the risk of losing all that can be gained through the force of habit, by teaching subjects as they ought to be pre- sented to mature minds only ? Moreover, many of the essentials in music, that can be readily acquired by this powerful agent, habit, are for more important and difficult than the mere singing of notes from the staff — a fact that seems to have been lost sight of by certain enthusiasts. This much vaunted sight- singing, although necessary in its proper place, is after all only of secondary importance, as far as the sum and substance of music are concerned; it is rather a matter of record and convenience than the reality. A good musician may easily become a proficient sight- singer but let the sight-singer be ever so skilled, unless he has formed proper habits in expression, by imitating good models, he will hardly become a good musician. Even more in singing than in reading does expression form the essential feature, since the conveyance of musical thought and feeling is entirely dependent upon it. Teachers of reading will agree with me that the ability to pronounce words at sight is by no means the only requisite of a good reader ; the interpretation of the sub- ject by the correct expression of those words forms an important factor^ as words without expression may convey no meaning at all, or an, MUSIC IN PUBLIC SCHOOLS. 145 erroneous one ; whereas expression, even without words, often becomes the vehicle of ideas. Sometime ago a well-known French actress, in the city of New York, performed her role in one of kShakespeare's plays in the French language before an American audience, her expression being so perfect that she was understood, although but few knew the language. The reason for my dwelling upon this subject of expression at such length is because it forms the all-important pre-requisite, not only in reading and music, but in all art-teaching. How then is expression acquired ? Dare we say through the study of technicalities ? Decidedly, no. It is acquired through vivid imagination and imitation alone. It will thus be seen that by withholding from the young proper incentives to the imagination the tender impressible mind suffers an irreparable loss. Technicalities should be introduced inci- dentally, reserving the greater portion of them until the child's mind has formed proper habits by imitation and systematic rote practice — were such work more generally and faithfully carried out, we could rest assured that classical songs without words would have some meaning for our rising generation. It is well worth our while to examine carefully the material which we would have our children imitate. Students of the fine arts go abroad in search of inspiration and the worthiest models for imitation. While Europeans look to American genius for machinery and inventions, we can well afford to return the compliment by looking to Europe for models in art. There we fiad those crystalized monuments which have accumulated for ages in every department of art, especially in painting and music. Aside from the great masterworks in musical composition, there are those beautiful gems of song, peculiar to every nation, and generally accepted as good models for our purpose. Why then deprive our children of the inspiration which come from the practice of songs and exercises of pronounced merit ? Why listen to those who raise the cry that we, as true Americans, should encourage home genius and home industry ? We should encourage genius, but we must not stifle art by flooding our schools with an inferior grade of musical literature. Genuine American genius has been duly recognized, even in foreign countries, and we feel proud to see the names of Americans adorn many of the pages in the best collections ; but our school singing books and courses are in many instances the product throughout, of one person, whose name is hardly known to the musical profession. School music should at all times hold the aesthetic and ideal in view, leading through the beautiful to the beautiful, the formal or technical following in due time. The foregoing conclusions refute statements that were made before the Teachers' Association of a neighboring state, and I feel it my duty to protest against such statements and pronounce them unpedagogic and not based on reason or experience : 1. That all teaching by imitation is crippling in its effect. 146 MUSIC teachers' national association. 2. That rote-singing with little children is unphilosophical and preju- dicial to their progress. 3. That songs and exercises by American composers should be exclu- sively used. 4. That children in their singing must recognize the scale as the musical " unit of thought." 5. That children of five and six years of age can be taught to read music at sight intelligently. It is one thing to read notes, and another to read music. To read notes is a mechanical operation, and means the singing of isolated tones at sight from notation, without appreciating their relation to melody or harmony. To read music embraces both the technical skill and the full comprehension of the inspiration of the composer, and the musical thought and feeling underlying his work. It certainly is not in conformity with true teaching to present music synthetically at this stage, as a little child is just as incapable of interest- ing itself in a vague, abstract tone, or interval, rent asunder from its musical connection, as it is to comprehend the significance of the ele- ments of a language. Nothing less than a melodious phrase, wedded to pleasant childlike words, will appeal to his musical sense and reach his understanding. We should therefore acquaint the children with such phrases as are melodious, rhythmical, and simple enough for their com- prehension. These should be sung responsively with the teacher. The study of music bears a close relationship in some of its aspects to that of a foreign language. While the rational method of language teaching may be well suited to maturer minds, little children should be taught this subject by the natural inductive method. It would be unwise to attempt to teach the technicalities of the German language in the beginning to our young Anglo-American pupils. Adults may benefit by the application of rules, if given in connection with the conversational or rote raethod, but little children must Jearn to formulate simple, per- fect sentences responsively, as they have learned their mother tongue from infancy, after nature's own plan, that is, by imitation and rote. We must assume music to be a foreign language to little children when they first enter school, as but few of them are taught songs or tunes at home. It is, therefore, of the greatest importance that the first musical impressions be as nearly perfect as possible, as the child's musical ear, feeling and habits are to be formed for life. Nicety of expression should be our constant aim. No matter how simple a tune or song may be, we must make all we can out of it. Therefore, before pre- senting a new song or exercise, the teacher should closely study its essen- tial parts, exercising the utmost care, taste and discrimination. The improvement of our own appreciation of style will amply repay us for all this trouble. By teaching melodies, however simple, but complete in their rhythmical structure, keeping these prerequisites in view, we culti- vate in the children a love and interest for music and a good style of MUSIC IN PUBLIC SCHOOLS— DISCUSSION. 147 singing, and give them musical forms to be analyzed later on in the course. Singing these melodies and songs with the music before them, if you please, on the blackboard or in their books, they will gradually observe musical forms, and begin to analyze them in their childlike way; names and signs appear incidentally, eventually preparing them for the dis- covery of the elements and a more intelligent kind of music reading. Thus the idea of analysis is introduced by gradually proceeding from the concrete to the abstract, from objects as wholes to the parts that constitute them, without destroying the effect of the impression made upon the minds by the composition as a whole. Songs for children should refer to things that they like to think or talk about : natural objects about their home, the farm, the forest, the seasons, and little stories from life, or about animals. In this way their love and interest for song and melody grows with their physical and mental growth, and they are unconsciously led into the higher domain of tone — that is, musical thought. Having gained a knowledge of what is really music, tfarough the ear alone and not from note, the child will feel his subsequent instruction in notation to be real and substantial. DISCUSSION. Mr. Mason: I will illustrate rote-singihg by a diagram. The figure is divided into three sections. One section includes children of school age, of from five to eight years; one from eight to twelve, and one from twelve to sixteen or seventeen. Here is the period from infancy, and covers the early instruction in every branch, and you can apply it as well to music for the pupils as to any other study. This is the propor- tion of oral to written instruction. As they grow older the oral gradu- ally ceases, and the written increases. At the start everything com- mences orally, and it decreases until you see here it is evenly divided. That illustrates my idea and my practice in reference to this matter of rote-singing. Any one in a room like this who seeks to give the impres- sion that I, or any other gentleman who is engaged in teaching music at this day by rote, has something morally wrong about him. Again, there is not a teacher of music who has been upon this plat- form, engaged in any system whatever, that does not use rote-singing from five years of age to this extent. There is no one here who will stand up and say he does not do it. Generally those who talk the most against rote-singing use the most of it, and then, besides that, it continues all the way through, according to my observation. I will leave this dia- gram with you, as it expresses better than I can in words, the proportion of rote-singing. Rote-singing can never be dispensed with, that is in a measure. During this period children's ideas of music have to be devel- oped by the hearing. For successful and intelligent reading, the chil- dren must hear a great deal of music, and the more good music the chil- dren hear, even if it gets into their nature two hundred years before they are born, so much the better. We never get beyond the necessity of 148 MUSIC TEACHEKfi' NATIONAL ASSOCIATION. being stimulated by hearing good music; music better than we can per- form ourselves, or that the teacher can perform. I may be a great pla- giarist, I acknowledge it. 1 wanted to show you something of what I had learned from going around the country. I am a great rover. I have traveled around, and when I get through with my illustrations I am going to tell you where I got the idea. Now, what is it to read at sight, or what is it to be a musician ? I will use Dr. Tuller's definition for that: "To be a musician is to hear through the eye, and, vice versa, to see through the ear." I will now illustrate that, so far as these children are concerned. I have never tested them, but for illustration I am going to give the illustration that I borrowed, and then I am going to put this matter into the hands of the gentleman from whom I learned this trick of teaching. I am going to write something on the board, children, and I want you to see what it is, and remember when I rub it out quickly. Mr. Mason then illustrated further upon the board, and after com- pleting it said: "Now, I will put this chalk into the hands of the gentle- man from whom I learned this trick in teaching, Mr. Stewart." Mr. Stewart: I don't know, really, boys and girls, and ladies and gentlemen, what you Would like to have me do. Perhaps you would like to have me write some exercises for you to sing at sight. At these meetings many teachers and friends come together to learn from one another. If I talk about song and tones you don't care, and you will not care, I suppose, if I find out a little of what you know. Mr. Stewart then took the class through a number of experiments in sight reading upon the board. Mr. Landon: I would like to make some explanation on the subject which came up yesterday. After the little that was said about tonic-sol- fa yesterday, other remarks were made, and I would like to give an illus- tration upon the board. It is frequently stated in this way: Tonic-sol-fa tells a singer exactly what he is to do without any after mental process. Mr. Mason: So does the regular notation, does it not? Mr. Landon: It does not; but if you have it on the staff you have two or three other things to know beforehand, you have to make a men. tal calculation in this manner. Now, I claim this, that if there were no other things to be considered in judging of the Tonic-sol-fa, that it is a sufficient argument for the Tonic-sol-fa notation, because it tells us exactly what we are to do under every circumstance. And this is the thing that has misled the public more than anything else. I would like to reiterate what I have said here this morning. Notwithstanding the sol-fa system has been killed deader than a door-nail over and over again, there were over two hundred thousand books sold in the United States within two years. In 1885, in the State of New York, Mr. Seward had an essay on Tonic-sol-fa. It hardly received an echo in the large audi- ence. It was set upon from all sides. But yesterday, when the Tonic- sol-fa was mentioned, the people received the arguments, not with preju- dice, but were inclined to look them over when a point was made. MUSIC IN PUBLIC SCHOOLS— DISCUSSION. 149 Mr. Heath: Have we a chairman of this meeting? Mr. Mason: I would like to ask the gentleman, if he will answer, liow far he would carry this Tonic-sol-fa system of notation in the public schools? Mr. Stewart: Let me ask first if we are to discuss the essays that were read? Mr. Landon: I supposed it was so, and I supposed that was what we were doing. I may answer your question in a very few words. If I wanted to train a mixed class to learn staff notation, I would begin with the Tonic-sol-fa, and continuing it would branch off into staff notation. If you start out with the idea of giving thorough instruction in staff notation, you can do it quicker by first learning the Tonic-sol-fa, because it teaches music. It is wonderful how few explanations turn it over into the staff. The staff comes perfectly clear. It is marvelous how easy it is. You learn all about reading and singing with very little work. If you begin with the staff notation, the staff being developed on the instru- mental side and not on the vocal, it is a long and a slow process. Mr. Perkins: We have not much time to spare, but I would like to reply briefly to Mr. Landon and others, and keep strictly to the subject before us, which, as I understand, is in the line of elementary teaching, presented in the essays that have been read in this hall. We would infer from the argument of the sol-f aists that a mental and successful change of key by the staff notation is a very difficult thing to do, and I may say, next to impossible. I would like to take a few minutes and write an exercise to illustrate practically change of key, or the different positions of the scale, upon the staff for the children to sing, as this mode of argu- ment will be more convincing, pro or con, than words. (Mr. Perkins then illustrated his argument upon the blackboard, and called upon the class of public school children present to sing in the seven positions, which they did from five notes, ascending and descend- ing.) Mr. Mason: Is it not true that we have used everything that the Tonic-sol-fa men have in their system, and have we not used it right along? Mr. Perkins: We have, those who have taught properly; but I have remarked before that some teachers of the staff notation, now converts to the sol-fa, remind me of Saul of Tarsus, who was struck blind, and who " saw men as trees, and trees as men, walking." The progressive thinkers and teachers have had no need of a new system in order to suc- cessfully teach sight-singing; they have no need of being converted. Those who have been the greatest sinners receive the greatest shock upon being convicted, I suppose. This may be the reason for the excessive exuberance and inexpressible joy that some sol-f aists manifest. In my opinion the orthodox staffites teach all of the essentials. Mr. Landon: Except notation. Mr. Perkins: That remark fits the sol-fa teachers splendidly. But I repeat that notation has nothing to do with the case, any more than a 150 MUSIC teachers' national association. •written language has in teaching the child to talk. The philosophy of teaching was understood and practiced before sol-fa was born, but if it has revealed any new thing to any teacher, such as how to instruct pupils to think with the same intelligence and accuracy that they do in other branches of study, then I am pleased that they have " seen a great light." What we want for the children of the public schools is good, sound, sen- sible music teaching, that is all. Mr. Heath: I have attended this Association and its meetings nearly twelve years, missing but one. We have tried, each of these twelve years, to say something on the subject of teaching music in the Public Schools, but during all this time I have heard nothing, nothing, nothing. but " notation." Is it not about time that those who have no other sermon to preach be asked to adjourn to the woods and talk it out with themselves? Nota- tion is but a small part of the work. There are other and more impor- tant things before notation; a knowledge of tonality, and, ladies and gentlemen, there is much that can be said and much that can be learned upon this point in teaching. It is a matter of far more importance than anything else that has come before this Association for discussion. It is a thing that lies at the root of all our musical education, and a child who has no knowledge of tonality may know everything else on the face of the earth, and he is as lame as a child without limbs and more helpless than one without arms. But, if it must be otherwise, let us take advan- tage of Edison's wonderful invention, the phonograph. Let us ask th& children to go home, take one of those phonographs in their hands, with tube thrust into their ears. We will get some artist to sing into it, and then turn the crank for the edification and rote- education of the children. This sort of education may produce tempory pleasure, but everlasting regret. Why make phonographs or organetts of our children? Why not recognize that they have heads and brains? Why not recognize the fact that those brains must be brought into use, that they must know some- thing of music? Singing a song is all pretty, it is all right. There are many times and places where that is perfectly proper, but that is by na means first. If it is not first in arithmetic, if it is not first in language, if it is not first in geography, if it is not first in anything else in all the line of human intelligence, why, on the face of the earth, will you put it first in music? Why reverse the whole order of human experience. I cannot understand why anybody that has thought on that subject of teaching should ever think of such a thing foremost. There is not one thing that you and I know that is worth anything that we have not learned by imitation, or the underlying fundamental principles. We get our first impressions from hearing, and then we exer- cise our powers of imitation. Had it not been for imitation, we should never have had the locomotive to-day; we should never have had our electric system. The steps have all gone on from one to another, but do you tell me there has been no intelligence exercised in the development of these things? It has been brains that has led up to it. It has not MUSIC IN PUBLIC SCHOOLS— DISCUSSION. 151 been imitation simply. Now, if this little girl stands up and sings for me, and she does not give me a good quality, I give an example of the quality desired ; also of pitch, and other essentials. That is legiti- mate imitation, and is given in every other study at school. But when I ask this little girl to sing a song for me for the purpose of having a song simply, without the exercise of any intellectual judgment in connection with it, it is simply time wasted. It does not amuse the child. It may tickle the ear of the public for the time being, but it is a mere useless waste of time. I must beg your pardon for keeping you so long. I would like to answer the gentleman who attacked my paper as I believe I have a right to. He believes in the sentence method. Let me ask this gentleman a question. This gentleman proposes to teach this little girl the German language, or any other language, by the sentence method. Now, little girl, I am going to ask you to be perfectly dumb. I am going to suppose you to be little girl from the woods, who never heard a word of the Ger- man language, or any other language in the world, and I am going to ask you if you would be able to say to me that my thumb is short? A. No, sir. Q. Would not my words to you be mere meaningless sound ? A. Yes, sir. Mr. Hbath : That is all there is of it. Mr. Stewart : There is an illustration we have right at hand. Mr. Mason is a Chinaman, with his que cut off. May be he can talk the Jap- anese language? Mr. Mason then gave several illustrations in connection with the Chinese language, using both the children and Mr. Heath in connection with his illustration. Mr. Bach : My method of language teaching is by sentences. I will take any person willing to learn German, and teach him German by the sentence method. And let another person use another method, and we will see where we will be in about four lessons. My pupil will communi- cate in German, will express himself to me. To cut it short, I don't want to take up your time this morning, I say to him, " The hand is long." He says to me, "Is the hand long ?" I say to him, " The hand is long ; yes, the hand is long." I will measure the sun, and I will show by the sense that it is a certain thing, and I will teach him that by the lan- guage method. I will say, "Is the thumb long ?" and I will, by some motion, assist the child. The child must be drawn out. Of course, I would not proceed as fast as I go here, but I would soon reach the point where the child will speak. I had on exhibition a class of children who never spoke German before, and in a short time they could speak a num- btr of sentences. Mr. Heath : You say the finger is long. That is the object, isn't it? Mr. Bach : Yes. Mr. Heath : Did not the child get the objective word, finger? Mr. Bach : Yes ; but it was the association of ideas. — Adjourned. SECRETARY'S REPORT. Detkoit, Mich. Tuesday, July 1, 1890. Pursuant to adjournment of the thirteenth meeting in Philadelphia, July 5, 1889, the Music Teachers' National Association assembled for its fourteenth annual meeting in the Detroit Opera House. The conven- tion was called to order at 10:15 a. m., by President Albert Rose Parsons, of New York. James B. Angell, L. L. D., President University of Michigan, delivered an elegant address of welcome. President Parsons responded and delivered his message. On motion of Mr. Landon the chair appointed Messrs. Landon, Foot and Root as a committee to consider the recomendations made in the President's address, Secretary Perkins presented his report. At 11:30 a. m. the following concert of American compositions was giveni Pianists. Calixa Lavallee, Boston, Mass. Miss Kate H. Jacobs, Detroit, Mich. Ernest R. Kroeger, St Louis, Mo. Vocalist. Miss Jessie Corlette, Detroit, Mich. ViOLOKCBLLIST. Charles Heydler, Cleveland, Ohio. The Detkoit Philharmonic Clttb. Wm. Yunck, Ist Violin. L. F. Schultz, 2nd Violin. Walter Voigtlander, Viola. Arthur MetzdorfE, Violoncello. Mendelssohn Male Quartet. Chas. B. Stevens, Tenor. A. F. Dierkes, Tenor. E. C. Crane, Baritone, Chas. Puddefeot, Basso. Accompanist, Mrs. J. D. Mehan, Detroit, Mich. PROGRAM. 1. Organ Solo— Sonata in D major (M. S.) In troduction — Allegro, Andante. Maestoso— Fugue. J. C. Batchelder, Detroit, Mich. 2. Songs, a. "Not Lost, But Gone Before," b. "Love's Philosophy,".., c. "Go, Lovely Rose," Miss Corlette. ,W. W. Gilchrist .Harry Row e Shelly Jules Jordan Arthur Foote secretary's report. 153 3. Suite for Piano and 'Cello (M. S.) Calixa Lavallee Allegro Apassionata. Scherzo, Romanza. Presto a la Tarentelle. Mr. Lavallee, Mr. Heydler. 4. Piano Solo— a. Le Papillon (The Butterfly,) Calixa Lavallee b. Impromptu in G minor, Arthur Foote c. Etude de Concert, Op. 36 E. A. MacDowell Miss Jacobs. 6. Quartet— "On the Sea," Dudley Buck Mendlessohn Male Quartet. 6. Quintet— for Piano, Violins, Viola and 'Cello (M. S.) E. R. Kroeger Allegro Energico. Intermezzo. Lento e Sostenuto. Alia Tarantella. Mr. Kroeger and Philharmonic Club. (Miller Piano used.) 2:15 P. M. CHURCH MUSIC RECITAL, under the general direcrion of S. B. Whitney, Boston, Mass. (Authorized by the Church Music Committee.) SELECTED CHOROUS OF MIXED VOICES. C. B. Stevens, Director. Sopranos. Mrs. Ida Norton, Mrs. C. F. Schultz, Mrs. Fred. A. Robinson, Miss Jean Forsyth. CONTBALTOS. Mrs. Chas. Wright, Mrs. E. T. Tripler, Miss Emily Gilmore, Miss M. Welz. Tbkors. Jamea Vaughan, Chas. W. Lokie, Chas. B. Stevens, A. F. Dierkes. Bassos. E. C. Crane, Chas. Puddefoot, Frederick Fayram, Frank T. Lodge. ST. PAULS CHURCH CHOIR, J. C. Bachelder, Organist, Harrison B. Wright, Choir Master. Sopranos and Altos. Geo. K Dyer. Harvey Winckler, Fred. Beatty, Geo. Vickery, Fred. G. Dyer, Morley Dumas, Chas. Greedus, Willie Johnston, Jas. Belford, Rex Clarke, SoUace Coolidge, Geo. Lord, John Harris, Bert Diegel, Walstein Failing, Wilson Jackson, Nelson Thompson, Robert Harris, Lewis Guest, Starkey Sanford, David Holmes Wade Parsons, Frank Purdy, Geo. Johnston. Tbnobs and Bassos. B. J. Purdy, Ross HoUister, H. E. Palmer, H. E. Beadle, W. M. K. Bllerton, Geo. Ketchum, J. W. Scofield, J. J. Smith, Fred. Winckler, Frank G. Curtis, N. R. Jose, Albert Peters, Hiram Jackson, B. Wells, F. A. Reilly. 4 MUSIC TEACHERS NATIONAL ASSOCIATION. PROGRAM. 1. Organ— Voluntary, S. B. Whitney 2. Processional Hymn— "The Son of God goes forth to War." S. B. Whitney St. Paul's Choir. 3. Tenth Selection of Psalms— Anti phonal Chant, Trinity Psalter St. Paul's Choir. 4. Anthem— "Praise the Lord," J. C. D. Parker Mixed Choir. 5. Gloria in Excelsis— In C, Berthold Tours St Paul's Choir. 6. Anthem— "The Lord is my Strength," Smart Mixed Choir and St. Paul's Choir.' 7. Bass Solo— "The King of Love My Shepherd is," Gounod Mr. Crane. 8. Te Deum in G, Knox Mixed Choir. 9. Magnificat in G, Calkins St. Paul's Choir. 10. Anthem— "I am Alpha," Stainer Mixed Choir and St. Paul's Choir. 11. Anthem— "The Lord is Exalted," West St. Paul's Choir. 18. Hymn— Nearer My God to Thee," Sullivan St. Paul's Choir* 13. Recessional Hymn— "All Hail the Power of Jesus' Name,'" S. B. Whitney St. Paul's Choir. 4:00 P. M. PIANO RECITAL by Emil Leibling, Chicago, 111. Vocalist Mrs. B. L. Rouse, Mezzo Soprano, Cleveland, Ohio. Accompanist Wilson G. Smith, Cleveland, Ohio. PROGRAM. 1. a. Prseludium in E minor, E. A. MacDowelj b. Sonata Op. 7, Grieg Mr. Liebling. 2. a. "Love's Philosophy," Arthur Foote b, "Persian Love Song," R. deKoven c. "Loak in My Heart," Wilson G. Smith Mrs. Rouse. 3. a. Romanze Op. 23, , Gernsheim b. Mazurka KarganofE c. Spring Song, - Neupert d. Caprice Norwegienne, Wilson G. Smith e. Etude and Polonaise de Concert, Tchytte Mr. Leibling. (Hallet and Davis Piano dsed.) 8:00 P. M. GENERAL RECEPTION, Philharmonic Hall, under the Auspices of the Ladies of the Tuesday Musicale. secretart's report. 155 SECOND DAY. Wednesday, July 2, 9:45 A. M. President Parsons called the meeting to order and H. C. Macdougall of Providence, R. I. opened the exercises upon the Farrand and Yolty pipe organ, erected for the occasion, with the "Funeral March and Hymn of Seraphs," by Guilmant, and Fugue on "BACH, " by John Sebas- tian Bach. In the piano department essays were read by James H. Howe of Greencastle, Ind., Chas. H. Jarvis of Philadelphia, and Mme. Fannie Bloomfield-Zeisler of Chicago. On motion a committee was appointed by the chair to report on the question of Life Members. N. Coe Stewart, H. C. Macdougall and Max Leckner composed the committee. Resolutions were referred to the Board of Yice Presidenti for con sideration, bearing upon certain changes to be made in the Constitution^ as to the name of the Association, and the holding of an International Congress of Musicians in Chicago in 1893, during the World's Fair. 11:30 A. M. piano recital by Henry Waller, Louisville, Ky. Vocalist, Miss Annie S. Wilson, Detroit, Mich. Accompanist, James H. Rogers, Cleveland, Ohio. PROGRAM. 1. a. Fantaisie, in F minor, Chopin b. Sermon to the Birds, Liszt c. Tarentelle— Venezia Napoli, Liszt Mr. Waller. 2- Songs— a. " I Told White Roses," Wilson Q. Smith b. " Love," Calixa Lavallee c. " My Jean," E. A. MacDow«ll d. " When Love is Done," James H. Rogers Miss Wilson. 3. a. Sonata, Op. 31, No. 3, , Beethoven b. Impromptu, , Waller c. Trot de Cavalerie, Rubinstein d. Walkuren Ritt, Wagner-Tansig Mr. Waller. 4. Songs— a. Prayer, , Durante b. '* Timbre d' Argent," Saint-Saen^ Mme. Julia Rosewald. With violin obligato by J. H. Resowald. (Miller Piano Used.) 8:15 P. M. ORGAN SOLOS— Passacaglia in B flat (" Frescoboldi,") and "Fugue in D major," (Quilmant.) By A. A. Stanley of Michigan, Essay in the Theory department were read by John 8. Yan Clcve Of Ohio and Waldo S. Pratt of Connecticut. 156 MUSIC TEACHERS NATIONAL ASSOCIATION. REPORT OF THE O. AND C. C. E. F. COMMITTEE. The Orchestral and Choral Concert Endowment Fund Committee, recently appointed are unable to make a satisfactory report, because so far they have not had time or opportunity to hold a meeting, or jointly to devise a plan of action. The Secretary of the Committee has lately asked the opinion of forty- seven (47) Composers and Orchestral Leaders in various parts of the country on the propriety and usefulness of such fund. This correspon- dence has elicited seventeen (17) letters in answer, all unqualified endorsements of the feasibility of creating such fund, some adding sub- stantial proof of confidence by their application for Life Membership in the M. T. N. A. Ten duplicates of Treasurer's Receipts (numbers 2 to 11 inclusive) representing the sum of $184.00 were received from as many con- tributors. Subscribers and solicitors blanks, as well as the necessary receipt blanks, have been printed and are ready for distribution to any and all who are willing to use them for the enlargement of the fund. Attention is called to the pamphlet distributed throughout the hall, and a careful perusal thereof is respectfully solicited. Personal appeals to memberi during this meeting have been productive in increasing the subscription to nearly $900.00. Your committee reports further instructions as to their duties and powers from this meeting. It is suggested that the name of this committee be changed to the ^' Board of Trustees for the Choral and Orchestral Fund." All this is respectfully submitted in behalf of the Committee for the Choral and Orchestral Fund of the M. T. N. A. The above was adopted. Mr. President: Your committee, to whom the enclosed resolution was referred are forced, after due consideration, to make a report adverse to its passage in its present form, and would in all modesty suggest the following substitute: Eesolved, "That any person wishing to give a concert for the benefit of any fund of the M. T. N. A., should obtain the President's official sanction as temporary agent of the Association, only when able to bring the endorsement of two or more members in good standing. Adopted. The manner of depositing the money contributed to the O. and C. C. Fund for the accumulation of interest was discussed. Mr. DeRoode moved that it be deposited with some New York trust company. Mr. Farnum moved a substitute that the matter be referred to the committee. Carried. Max Leckner, Secretary. either of his own or some neighboring city.' " Signed. secretary's report. 157 Mr. Macdougall, Secretary of tlie Board of Vice-Presidents, made the following report: On time and place of meeting, that, there be no meeting in 1891, and that the next meeting be held at Minneapolis, Minn., at the usual time of the year in 1893. On nominations : — For President J. H. Hahn, of Detroit; for Secre- tary H. 8. Perkins, of Chicago; for Treasurer W. F. Heath, of Ft. Wayne, Ind. Executive Committee:— Carl Lachmund (chairman) of Minneapolis; S. A. Baldwin, of St. Paul, and Walter Petzet, of Minneapolis. Program Committee: — W. H. Allen, of Connecticut; Arthur Foote, of Boston, and J. H. Rosewald, of San Francisco, Examining Committees on American Compositions: — E. A. Mac Dowell, of Boston (chairman); E. R. Kroeger, of St. Louis, and C H* Jarvis, of Philadelphia. Auditing Committee;— J. W. Ruggles, of Iowa; C. H. Congdon, of 8t. Paul, and F. A. Parker, of Wisconsin. The report was received and posted upon the bulletin as required by the constitution. The following, moved by H. C. Farnum, of Ohio, was adopted: "Resolved, That the Committee on Terminalogy be, and hereby is directed to report to the Association what books, if any, contain a full and accurate statemement of the theory and proper interpretation of ornamental notes and passages." Preceding the piano recital of Edward Baxter Perry, of Boston, and in connection with his numbers upon the program, he offered the fol- lowing remarks: "Ladies and Gentlemen — As this form of lecture-recital is an innovation of my own, allow me a prefatory word concerning its nature and purpose, before I proceed to the regular work of the pro- gram. In a representative musical audience, such as that at present assembled, there are probably few who would not be ready to admit in a general way, perhaps even to assert with considerable energy, if dis- puted, that music is an art, fully equal in rank, in power and beauty, to her sister arts, poetry and painting. But are we always as fully agreed on the precise significance of this seemingly elastic term, as we are unanimous in its use ? Mere executive or constructive skill, mere power to overcome stupendous difficulties, or to produce a high degree ©f sensuous pleasure, while they by no means constitute art, are often confounded with it, too often cultivated and commended in its stead, and to its decided detriment. The first essential step, it seems to me, for the earnest votary, is to ascertain exactly what is meant by the service of art, exactly what demands are made upon him by this most jealous, most incomparable of mistresses. The best, the most concise, yet comprehensive definition of art, with which I am familiar, is that of the leading German sesthetican, Friedrich Yischer, comprised in just three words: " Life in form;" by which he 158 MUSIC teachers' >'atioxal association. means, according to his own amplification, any phase of human life or experience, any scene or phenomenon in nature, embodied by human means in symmetrical, intrinsicaly beautiful form. "The source of all the arts is one," says Liszt; "but their mediums of expression are many," and a single idea may often be embodied, with equal power and beauty, in words, as in poetry; in colors, as in painting; in tones, as in music. Mere skill, however phenomenal, mere control of difficulties, or of the springs of pleasure, however masterly, not only do not constitute art, but do not even serve it, unless used as a means by which to express and convey some thought or mood or perception, within the vast and varied scope of human experience. In a poem, it is not the jingling rhyme, or flowing metre, or perfect diction; but the ideas expressed, which form the vital art principle. In a picture, it is not the pleasantly blended colors, not the accurate and graceful drawing, not even the strict fidelity to natural objects copied; but the mood or thought suggested, which makes it an art work. And so in music, it is not the pleasing melody, nor the ingenious and original combination of harmonies, nor the startling display of technical proficiency; but some spark of vital experience from the life of the composer, which it embodies; some thought or mood which it conveys to the listener; some message which it brings for heart and brain, as well as senses, which renders it worthy of the name of art work. But this language of tone is illusory, etherial, the least definite of aU forms of human utterance; and it is for this reason that I have ventured of late years, to preface the numbers I present with a brief, informal analysis in words, giving what seems to me a rational interpretation of the work, and any points connected with it, which I think may add to the general interest. My purpose is simply to facilitate a ready com- prehension and enjoyment of the composition, especially at a first hearing for those to whom the tone-language is comparatively unfamiliar. Others, to whom these explanations are neither new or necessary, will be kindly tolerent of them, I trust, for the sake of those whom they may help or interest. Of course I do not claim, indeed it were impossible, to give a literal English translation of these great tone-poems. Their subtler beauties will always baffle all the resources of the colder, coarser vernacular. It has been well-said, " Where language ends, there music begins." But I think it possible to shadow forth, at least in general outUne, the plot of a composition, so to speak; to call attention, in a few plain sentences, to its salient characteristics, to its general emotional contents, and thereby to place the listener in a more receptive attitude. I merely endeavor to draw the proper stops for a given effect, before attempting to touch the keys of that great organ of human sensibilities, which it is the ambition of every artist to set vibrating in harmony with his own conceptions; to erect a platform of words, however rudely constructed, from which to obtain the best view of the tone-pictures to be pre- sented." secretary's report. 159 4.00 P. M. PIANO RECITAL AND LECTURE by Edward Baxter Perry, Boston, Mass. Vocalist Mrs. Jessie Bowen Caldwell, Covington, Ky, Accompanist W, L. Blumenschein, Dayton, Ohio. PROGRAM. 1. Sonata, Op, 85, B flat Minor Chopin Introduction and Allegro. Scherzo. Marche Funebre. Presto, Mr. Perry. 3. Aria— "Rejoice Greatly " —Messiah Handel Mrs. Caldwell. 3. a. Der Erlkonig Schnbert-Liazt b. Portrait No. 22 from the Kammenoi-Ostrow Album — Rubinstein c. Staccato Elude " Mr. Perry. 4. Aria— "Although Obscure, more Royal Great," from Queen of Sheba. Gounod Mrs. Caldwell. 5. a. Tarantelle, A miaor Fred. D. Mor ey b. Die Lorelie , , E. B. Perry c. Polonaiae H(3oique Ferdinand Dewey Mr. Perry. ^Knabe Piano used.) Evening Session, July 2d, 8 o'clock. FIRST GRAND CONCERT. Thb Hon. Don M. Dickinson, of Detroit, in opening the meeting, spoke as follows ; Ladies and OentUmen : I congratulate our guests, and I congratulate the city of Detroit upon the magnificent success of this convention. The reason must be apparent to all, and it is that Detroit is the best place in the world in which to hold any convention. You who are guests have doubtless been struck with the modest and retiring disposition of the people of Michigan. Withal, "you have seen that we are not vainglorious or boastful. When we tell you any of the thousand-and-one things in which we excel, we do not do it in a spirit of boasting, but from a stern sense of duty to give information to the strangers within our gate, and so widen their knowledge. When we state to you that our river is unrivaled in beauty and puri- ty, that our park is the finest and most unique in the world, that the city of Detroit is the most beautiful on the continent, that the school system of Michigan is the best on earth, that our gold, our iron, our copper, our grain, our manufactures, are the best of their several kinds in the Union, we are but telling you from abroad what you ought to know and what you deserve to know, and, when we say these things, we can make proof by exhibit. But when we say *hat of the people of Michigan, taking them by and large, they are the most intelligent, the most progessive 160 MUSIC teachers' xattonal association. and most comfortable, we must introduce in evidence representative types, because you cannot see all, and to this end, when we do make a . selection of a representative citizen, it will be one of whom it has been demonstrated and of whom it is generally universally conceded that he 'is an honor and a credit to such a State. The Governor of Michigan, so far as I know (and I know considerable about him from his public career), can do almost everything well, except sing ; whether he can do that or not, I don't know — I am not informed, but I do know, and I can testify, that he can make the liveliest kind of music for his political adversaries in a campaign, and it may be said of him in all sincerity that there is no man who is more representative of all the people of this State than our distinguished executive. The honor and pleasure of the evening is mine when I present to you Cyrus G. Luce, Governor of the State. GOVEBNOR luce. Mr. Ghai/rman, Ladies and Gentlemen of the Music Teachers' Associa- tion, and Felloio- Citizens of Detroit : I desire to congratulate this conven- tion for their wise discrimination in the election of a president for the following year, I have known the gentleman whom you have honored ever since each one of us was a boy. I have enjoyed his acquaintance and his music, and I believe I speak within bounds in saying that he is entitled to great credit, if not greater credit than any other citizen of the State, in stimulating the art of music, not only in Detroit, but through the length and breadth of the commonwealth, and I thank you for 'electing him. From my acquaintance with Professor Hahn for these many years I was induced to come down here upon his urgent invitation, to tell you that I never did, and never could sing a tune in my life, but still I am here to talk to musicians, and may perhaps draw the point fine in relation to this art, before I conclude. When I was a young man I undertook to learn to sing. I attended a singing-school, and the teacher, like all of his class, was an honest, can- did, truthful man. After singing for a time, he invited me to sing alone. Some of you can imagine my feelings, but I sang, or, at least made si noise, and ran along, not up and down the scale, but along the scale, "do, re, me." This honest, frank teacher stopped me in the singing, and he said, " You can learn to sing, maybe, but your friends had better advise you that it will cost more than it will ever come to," and this had a discouraging effect upon me. But I enjoy singing. I enjoy music in all of its departments per- haps as well as any of those distinguished musicians who are not exactly before, but behind me here tonight, and I desire to congratulate them,, and thank them, too, for their wise discrimination in selecting Detroit as the place for holding their Convention this year. The honorable and distinguished gentleman who preceded me told you a little something about Detroit, and alluded briefly to the State of secretary's report. 161 Michigan. Allow me to say we are glad you came here into what we regard the most beautiful city in all this land of ours. Detroit is a part of Michigan, and I assure you here to-night, in the presence of represent- tives from many other states, that Michigan is. the best all-around State in America — and I have told this so often that I believe it — and we are glad that you came to this best of all States to hold your Convention. You who are from other States will not see the entire Commonwealth ; but I assure you that Detroit is a fair representative of the entire State. We are proud of Detroit, and Detroit is proud of the State, and I would like to speak, in welcoming you, for Detroit and for the entire Common- wealth. I congratulate you upon the success that has crowned your efforts here. All the mighty achievements wrought out in this age in which we live are the result of associated effort, of combining talent with talent, mind with mind, hand with hand, and going forth to accomplish the purposes we have in view, and there is perhaps no calling that requires more of this associated effort to reach its desired end than the art of music, so I rejoice and congratulate you upon this National organization. We are living in an age when the people recognize more, as the days and weeks and months and years roll by, the necessity of co-operating for the common good, and it indicates the wisdom of those who are teaching music and who are contributing so greatly to the interest and welfare and happiness of all our people. Music comes in as an important element in all the relations of life. Music is enjoyed by the rich and the poor; music is enjoyed in the palace and the hovel; music is enjoyed by the learned and the unlearned alike; music buoys up the sinking soul and brings relief when sorrow comes near the human heart. So we rejoice in the cultivation of music, and we are glad you are here in Detroit for this reason. I congratulate you again upon the success that has crowned your efforts here. I have watched the papers from day to day, and have seen nothing but reports of success, of enjoyment, of improvement and of delight everywhere in this commercial metropolis of the State of Michigan. I did not come here to make you a speech, I came here to enjoy the music with you to-night, and I will not detain you longer, further than to say, in behalf of this great, noble Commonwealth of ours, that we welcome you, not only to Detroit, but to the State. May your organ- ization live, prosper and grow with the coming years, and enlarge in all its elements of usefulness, contributing in the future, as it has in the past, to the welfare and happiness of the people everywhere. MR. parsons' response. Ladies and Oenilemen : The Music Teachers' National Association appreciates most highly the honor of the presence of His Excellency the Governor of Michigan, to open formally the festival concerts of our Fourteenth Annual Meeting. 163 MUSIC teachers' national association. It is an unusual privilege to receive an address from the chief magistrate of p. great Commonwealth at a mmsical festival. Yet the courtesy is most fitting, for not only our States, bat also our statesmen, are practi- cally concerned with mu^c, and to a far greater extent than is commonly recognized. To illustrate this by a very simple case: I happened to know of an ^.instance in the last presidential campaign, — doubtless but ■one out of a thousand similar cases — where the children of a supporter of the Red Bandana ticket were so fascinated by the ri)ythmic swing of a campaign song that they happened to hear sung in a Republican meet- ing, that from thenceforth their father was compelled to hear it, early and late, until he feli in his bones how the thing was going on election- day, whenever they sang: "I see a train around the bend, 'tis filled with Harrison men." If song be thus capable of serving as a capsule which makes it a positive pleasure to swallow even the most unpalatable of doses, who shall .worthily describe the power of music when we add it to words express- ing the highest convictions of the mind and soul? At all political gath- erings, all religious assemblages, and in brief on all occasions of public ceremon}^ what like music can render men's minds as sensitive as tinder, prepared to catch fire at the merest touch of the breath of eloquence? What like music burns words into the very fibres of the human soul? Words thus impressed upon us by the magic power of music, we thence- forth carry with us, and whether we know it or not, there they remain, as a sort of secret writing, which time itself can only hide, but cannot destroy. Whatever touches those chords of memory must, by virtue of the reminiscent power of sound, bring into light that which is stored away. Well rnight it be said of oU, " Let me make the songs of the people, and I care not who makes their laws.'' It is from this point of view that I beg to address to your Excellency tonight an earnest appeal to exert your great influence, both political and personal, to provide for the systematic teaching of vocal music, on an equal footing with all •other studies, in the public schools throughout the State of Michigan, and to hand you herewith, with the compliments of the Music Teachers' Association of the sister State of. New York, which is one of the off- shoots of the National Association, a copy of the bill to be introduced at the next session of its legislature, providing for the teaching of vocal music in all the public schools through the Empire State. Wherever man discovers power in nature, he seeks to harness that power and make it work for the common good. Watt's teakettle cul- minated in the great Corliss Engine of the Centennial celebration. Thus, also. Franklin's kite led to the electrical marvels of Morse and Edison. Let not, then, the moral power of music remain unutilized, but let Michigan be among the first of the States of our great republic to turn the great force of song to practical account. In conclusion I would say briefiy in behalf of the Association, that, at our meeting one year ago in Philadelphia, when we received the invi- secretary's report. 163 tation of the citizens of Detroit, at the hands of Prof. Hahn, more was promised us than we could conceive it possible to perform; but that promise has been redeemed more than threefold. We thank you for your reception. ORCHESTRAL AND CHORAL CONCERT— (American Compositions.) Theodore Thomas, Conductor. Pianist— E. A. Mac.Dowell Boston, Mass. Vocalists— Miss Jessie Corlette Detroit, Mich. " Miss Agnes Vogel Pittsburgh, Pa. Mrs. Harry Whittemore Bay City, Mich. PROGRAM. Address by His Excellency, Cyrus G. Luce, Governor of Michigan. Response by Albert Ross Parsons, President of the Music Teachers' National Association. 1. Anthem— for Soprano, Solo, Chorus and Orchestra .H. S. Cutler Luke L, verses 76, 77, 78, 79. CHoatrs. "Thou, child, ehalt be called the Prophet of the Highest, for thou shalt go before the face of the Lord to prepare His ways; to give knowledge of salvation unto His people by the remission of their sins.'' SOPRANO SOLO AND CHORUS. " Through the tender mercy of our God, whereby the day spring from on high hath visited us, to give light to them that sit in darkness and in the shadow of death; to guide our feet in the way of peace." SANCTUS. "Holy ! Holy ! Holy ! Lord God of Sabaoth. The heaven and earth are full of Thy glory. Hosanna in the highest 1 Blessed is he that cometh in the name of the Lord Heaven and earth are full of Thy glory. Hosanna in the highest I" Soloist, Miss Corlette. 2. Second Concerto in D minor. Op. 23, for Piano and Orchestra E. A. Mac-Dowell. Larghetto calmato, Poco piu mosso. Presto, giocoso, Largo, Molto Allegro, Mr. Mac-Dowell. 3. An Island Fantasy— for Orchestra, Op. 44 (M. S.) John K. Paine The subject of this symphonic poem was suggested by the memory of summer days by the seaside, amid the varied scenes of ocean life— calm and sunshine alternating with ocean surge and storm. 4. Love Song— for Soprano,'^Solo and Orchestra (M. S.) Ad. M. Foerster Soloist, Miss Vogel. 5. Second Suite— in D major, Op. 21, for String Orchestra (M. S. . Arthur Foote Prelude. Intermezzo. Air. Gavotte. 6. Selections from Oratorio "Jerusalem, ".for Soprano Solo, Chorus and Orchestra Hugh A. Clarke SOLO. Isaiah Ixii: verses 6, 7 and 11. I have set watchmen upon thy walls, O Jerusalem, which shall never hold their 164 MUSIC teachers' national association. peace day nor night; ye that make mention of the Lord, keep not silence, and give Him no rest, till He establish, and till He make Jerusalem a praise in the earth. The Lord Himself hath proclaimed unto the end of the world, Say ye to the daughter of Zion, Behold, thy salvation cometh. CHOKtrS, Isaiah lii. ; verses 1 and 2. Awake, awake: put on thy strength, O Zion; put on thy beautiful garments, O Jerusalem, the holy city. Shake thyself from the dust; arise, and sit down, O Jeruea- lem: loose thyself from the bands of thy neck, O captive daughter of Zion. Soloist, Mrs. Whittemore, (Chickering Piano used.) SECOND DAY, DETROIT OPERA HOUSE. 9:45 A. M., Thursday, July 3d, 1890. Tlie meeting was called to order by the President, and the exercises for the day were opened by Harrison M. Wild, of Chicago, with the fol- lowing organ solos : Grand Chorus Dialogue, by Gigout. Communion, Op. 4, No. 1, by Batiste. Introduction and Fugue, Op. Guilmant. Organ department essays followed by A. A. Stanley, of Ann Arbor,. Mich.; Sumner Salter, of New York, andilJ. Frank Donahue, of Boston. In the Composition department essays were read by Frederic Grant Gleason, of Chicago, Johann H. Beck, of Cleveland, and C. L. Capen, of Boston. A motion was made by Mr. Leckner, and carried, that the attention of the Sub-section devoted to the organ on the Committee upon a Na- tional Method.of Instruction be called to the suggestions of Mr. Stanley's paper. report of thk committee on the president's address. Ist. That Sec. 1, Art. 5, of the Constitution be amended byinserting^ after the first sentence of said section the words: "Vice-Presidents shall be appointed by the President, with the approval of the Executive Com- mittee, to serve for the term of one year, subject to removal for cause by the unanimous vote of the Executive Committee." 2d. That the Secretary shall i)ublish, in connection with the oflficial report, the Constitution and By-Laws, and also the substance of all reso- lutions and measures whensoever adopted, which shall have been made the permanent rule for the work of the Association. 3d. That the Secretary be instructed to send a copy of all past re- ports obtainable, and a copy of all future reports to the chief public libraries in the following cities : Boston, New York, Philadelphia, Balti- more, New Orleans, Buffalo, Albany, Cleveland, Detroit, Indianapolis, Cincinnati, St. Louis, Chicago, Denver, Pittsburg, San Francisco, Port- land and Seattle. 4th. That the Association assume its proper title, as adopted at New York in 1885, viz. : Music Teachers' National Association, The American Society for the Promotion of Musical Art; and, further, that the Executive secretary's report. 165 Committee be instructed to take proper steps for the legal change of the corporate name. 5th. Upon the advice of the Vice-Presidents, we recommend that an extraordinary meeting, in harmony with, and as a part of the Official Program of the World's Fair, be held in Chicago in 1893. 6th. That the last clause of Paragraph 6, Sec. 3, of Art. 9, of the Constitution, beginning with the words, "And in no case shall the Pro- gram Committee allow," be stricken out, and the following substituted : "And the Program Committee shall make up the programs from compo- aitions thus accepted by the Board of Examiners, supplemented, as they may deem advisable, by selections from other sources." 7th. To lamend Sec. 2, Paragraph D, of Art. 4. of the Constitution, by striking out "A fee of two dollars," and inserting "Not less than five dollars nor more than ten dollars, according to the decision of the Execu- tive Committee, which fee shall entitle." 8th. That the Official Stenographer be instructed to make two copies of his report of the proceedings, and that he transmit one of these copies to the President, and the other to the Secretary within two weeks from the close of the session. 9th. We would also recommend that it be made a permanent rule, as long as the Association shall last, to head the membership list in each annual report with the names of those who originated and signed the call for the first meeting in 1876, under the title of " Founders of the Association." (Signed,) Chas. W. Landon. Arthur Foote. Frederic W. Root. 11:30 A. M. CHAMBER CONCERT, American Compositions. PianietB.— Arthur Poote Boston, Mass Adolph Koelling Chicago, 111 Vocalists.— Mies Jennie M. Stoddard Detroit Mich Francis Campbell Grand Rapids, Mich The Detroit Philharmonic Club Detroit, Mich Accompaniets.— Emilio Ajramonte New York Edward T. Remick Detroit, Mich. PROGRAM. 1. Quartet in A minor (M. S.) . . .' F. X. Arens Allegro energico. Adagio. Menuetto (grazioso.) Presto. Detroit Philharmonic Club. «. SongB— a. " The Sands o' Dee," Emily Bruce Roelofson b. How Shall I Sing to My Fair One? " C. Whitney Coomba c. " Dreamland Ferry," Edward T. Remick Miss Stoddard. 166 MUSIC teachers' national association. 3. Quintet— for Piano, Violins, Viola and 'Cello G. W. Chadwick Allegro sostenuto. Andante cantabile. Allegretto Allegro energico. Mr. Foote and Philharmonic Clnb. 4. Song« a. "Marie," F. N. Shepperd b. "The Violet," Helen Hood c. "King Death," G. W. Chadwick Mr. Campbell. 5. Quartet in C minor, Op. 1, for Piano, Violin, Viola and 'Cello Adolph Koelling Allergro energico. Allergretto scherzando. Andante con moto. Allergro moderato. Mr. Koelling and Philharmonic Club. (Chickering and Hallet and Dnvis Pianos used.) PHILHARMONIC HALL, July 8, 10 a. m. PUBLIC SCHOOL MUSIC SECTION. N. Coe Stewart presiding. The music part of the exercises were prepared by Mrs. Emma A* Thomas, Superintendent of Music in the Detroit Public Schools, and were directed by her. THE PROGRAM. Chorus— "To Thee, 0 Country I" Eichberg Class from Everett School, Detroit. Essay—" Our Duty as an Association of Public School Music Teachers." Luther Whiting Mason, Boston, Mass . Essay— " Musical Education for the Masses." W. F. Heath, Fort Wayne, Ind. Aria—" Angela Ever Bright and Fair," Hfendel Master Cyril Eoderick Tyler, Soprano Soloist Grace Church Vested Choir, Detroit. Essay— "Tonic-Sol-Fa as an Expression of the Psychology of Music." Theodore F. Seward, East Orange, iSf«w Jersey. Chorus— "Lightly My Bark," Minard Class from Detroit Schools. Discussion of the above essays were participated in by many of the members. They will be found in their proper places. DETROIT OPERA HOUSE, Thursday Afternoon, July 3. Exercise opened with an organ solo by S. C Batclielder, of Detroit. In the vocal department essays were read by Edmund J. Myer, of I^ew York; Emilio Belari, of New York, and Jules Jordon, of Pro- vidence, R. I. secretary's report. 167 3:30 A. M. VOCAL RECITAL. Vocajists.— Mr8. Ida Norton Detroit, Mich Jules Jordan Providence, B. I Pianist.— Julius V. Seylcr Detroit, Mich Accompanists.— Arthur Foote Boston, Mass J. H. nahn Detroit, Mich PROGRAM. 1. a. "My Love's Jewels," C. F. Dennee b. " Be Strong," (M.S.) J- H. Hahn c. "Longing," (M. S.) James H. Roger& d. "I've Found a Perfect Happiness," (M. S.) Clayton Johns Mrs. Norton, 2. Piano Sulo.—a. Miniature iu C major, (M. S.) Thos. H. Chilver& b. Berceuse, Op. 1, No. 1 C. E. Piatt c. Mazurka Caprice, Op. 3, No. 2, (M. S.) J- H. Haha d. Rhapsodie Hongroise, No. 12 Liszt Mr. Seyler, 8. The Fiiir Margelone, Op. 33 > Brahms a. "Hoi Broadsword and Spear," (No. 2.) , b. "Are they Sorrow, are they Pleasure." (No. 3.) " c. "Rest Thee in Shadow," (No. 9.) " d. " O, Joy Without Measure," (No. 6.) " Mr. Jordan. 4. a. " Ojala, Would She Carry Me?" b. " How Long, Dear Love, will You Remember? " (M. S.) c. "PhylliB, the Fair," d. "Ring Out, Wild Bells," Mrs. Norton. (Hallett & Davis Piano used.) The President announced that the time had arrived for the election of officers for the ensuing year. The Secretary read the list of names previously nominated by the Board of Vice-Presidents, and posted upon the bulletin, as required by the Constitution, the Chairman of the Program Committee having been left blank. Mr. Stanley nominated Wilson G. Smith, of Cleveland. Mr. Sternberg moved that the Secretary cast the ballot for J. H. Hahn, of Detroit, for President. Carried unanimously. Mr. Hattstadt moved that the Secretary cast the ballot for H. S. Perkins, of Chicago, for Secretary. Carried vinanimously. Mr. Mueller moved that the Secretary cast the ballot for W. F. Heath, of Indiana, for Treasurer. Carried unanimously. By order of the Convention the Secretary cast the ballot for Wilson G. Smith, as Chairman of the Program Committee. On motion of Mr. Heath, the Convention ordered the Secretary to cast the ballot for N. H. Allen, of Connecticut, for the second member Arthur Foote A. C. I^Iackenzie Gounod 168 MUSIC teachers' national association. of the Program Committee, which was done. Edmund J. Myer, of New York, was elected by ballot as the third member of the Program Com- mittee. By vote, the Secretary cast the ballot for the Examining Committee of American Compositions, as follows: E. A. MacDowell, of Boston, chairman; Ernest A. Kroeger, of St. Louis; Chas. H. Jarvis, of Philadel- phia; J. H. Rosewald, of San Francisco, alternate. By order, the Secretary cast the balloffor J. W. Ruggles, of Fayette, Iowa; C. H. Congdon, of St. Paul, Minn., and F. A. Parker, of Madison, Wis., as members of the Auditing Committee. Moved by Mr. De Roode, and seconded by Mr. Sternberg, that Min- neapolis, Minn., be the next place of meeting, and that it take place in 1892. Carried. It was voted that the Secretary's salary for 1892 should be the same as for 1890. Moved by Mr. Farnum, and voted: That the Auditing Committee, to which is referred the report of the Committee on Choral and Orchestral Endowment Fund, be instructed to prepare and present to this meeting a plan for reorganizing the work of said Choral and Orchestral Endow- ment Fund Committee, for defining its duties, and for managing the moneys received, or that may be received, for said fund. The Secretary read the following resolutions presented by Mr. Barbe, of Mississippi: Resolved, That the Vice-Presidents hereafter suggest to the Program Committee the names of persons, members of the Music Teachers' National Association or not, well known and generally recognized as specialists in music in the States where they reside. Resolved, That it shall be the duty of the Program Committee to take cognizance of persons thus suggested, so as to make the programs as nearly national, geographically, as the nature of the case will permit. Mr. Barb^;: The resolutions are based upon the idea that we should get representatives once in a while from those artists who are living in more distant portions of the country. We can better form associations, and we have a better opportunity to induce music teachers to join this Association. Mr. Wolfram asked that the President vacate the chair for a few minutes, and that the Secretary preside. The Secretary took the chair and called for the pleasure of the Convention. Mr. Landon: Mr. Chairman, there are a great many expenses con- nected with the Presidency of this Association, and I move that we make a complimentary appropriation of $200 to the President. Motion sec- onded and carried unanimously. The President resumed the chair, and after returning thanks to the Association, donated $50 of the amount to the Choral and Orchestral Endowment Fund. Mr. Abercrombie moved that the Convention assemble for business tomorrow afternoon at 4:30. secretary's report. 169 Mr. Qleason moved an amendment, that the business meeting be held directly after the close of the orchestral concert. The motion pre- Tailed. Several members engaged in discussion about the part which the Music Teachers' National Association should take in the music depart- ment of the World's Fair of 1898. This being ruled out of order by the Chair, on motion adjourned. ^: 00 P. M. DETROIT RINK. Thursday July 3. 0ECHE8TRAL AND CHORAL CONCERT. American Compositions. Theodore Thomas, Conductor. Pianist.— Mrs. Louis Maas Boston, Mass Vocalists.— Mrs. B. L. Rouse, Mezzo-Soprano Cleveland, Ohio W. J. Lavin, Tenor Detroit, Mich E. C. Crane, Baritone Detroit, Mich PROGRAM. 1. The Diver— Ballad for Solos. Chorus and Orchestra Max Vogrich Narrator | Mrs. Rouse King's Daughter f " Youth,.. Mr. Lavin King Mr. Crane 2. Concerto— in C minor, Op. 12, for Piano and Orchestra Louis Maae Allegro Maestoso. Intermezzo, Andante. Presto. Mrs. Maas. 3. Suite— for String Orchestra, Op. 15, (M. S.) Henry Schoenefeld AUergretto grazioso. March Fantastico (allegro vivace.) Laendler (allegretto moderato .) Rondo (allegro con spirito.) 4. Recit. and Aria — for Tenor with Orchestra, "Remember Now Thy creator," (M. S.) Frederic H. Pease Mr. Lavin. 5. Episodes— for Orchestra, (M.S.) Arthur Bird (No. 1, Scene Orientale. < No. 2, Intermezzo and Trio. ( No. 3, Introduction and Fugue. 6. Symphony— " The Prodigal Son," (M. S.) S. G. Pratt Allegro moderato, Maestoso. Adagio, Andante. * Finale Allegro ma nontroppo. (Miller Piano used ) DETROIT OPERA HOUSE, Friday, July 4. THIRD DAY. 9:15 A. M. — MoRNiKG Session, Detroit Opbra House. Organ Solo Sumner Salter, New York iSonate Pontificale Lemmens Allegro Maderato. Adagio. Marche Pontificale. Fuga— Fanfare. 170 MUSIC teachers' national association. 9:30 A. M. ESSAYS.— The relation of State and National Associations. N. Coe Stewart, Cleveland, Ohio. Chas. W. Landon, Claverack, N. Y. Johannes- Wolfram, Canton, Ohio. (Discussions followed, see index.) 11:00 A. M. CONCERT. Miscellaneous Compositions. The Detroit Philharmonic Club. ^ "Violinist. — J. H. Rosewald San Francisco, Cal. Vocalists.— Mrs. Chas. Wright ■ Detroit, Mich. Mme. Julie Rosewald . .San Francisco, Cal. Pianists,— Miss Marie Miller Piqua, Ohio Miss Laura Schafer " Accompanist. — Emilo Agramonte New York PROGRAM. 1. Quartet in G major, Op. 18, No, 2 Beethoven Allegro. Adagio Cantabile. Scherzo (Allegro) . Allegro molio quasi Presto. Detroit Philharmonic Club. 2. Songs— a. "Ah; 'Tis a Dream," C. B. Hawley b. "Break, Break, Break," A. R. Parsons c. "Autumnal Gale," Grieg Mrs. Wright. 3. Toccata for two Pianos Schumann Miss Miller. Miss Schafer. 4. "Vocal— a. Prayer Durant b. Timbre d'argent Saint-Saens Mme. Kosewald. * Violin Obligato by Mr. Eosewald. 5. a. Intermezzo Gurlitt b. Scherzo Mendelssohn Detroit Philharmonic Club. (Knabe Piano used.) PHILHARMONIC HALL, Friday, July^4, 10 a. m. . PUBLIC SCHOOL MUSIC SECTION. Chorus— " Here I Come Creeping," Veazie Class from Everett School. Essay—" Elements of success pertaining to Musical instruction in Public Schools." Benjamin Jepson, New Haven, Conn. Song—" Over the Stars There's Rest," Abt Master Cyril Roderic Tyler. Chorus^" The Foot Traveler," Abt Class from Detroit Schools. secretary's report, 171 Essay— "Music Instruction in Our Public Scliools." P. M. Bach, Milwaukee, Wis. Solo— Selected. W. H. Leib, Kanfas City, Mo. Discussion upon the above essays was participated in by Messrs. Mason, Stewart, Landon, Perkins, Heath, Bach and others. They will be found in their proper place following the papers, (see index.) The afternoon, from 2 to 5, was devoted to the orchestral matinee at the Rink. Detroit Opera House, 5 p. m., July 4. The President annoanced that the Convention was ready to proceed with the business. At this point there were loud calls for J. H. Hahn, and, upon coming to the stage, he was introduced to the Association by the President. Mr. Hahn : Mr. President, Ladies and OentUmen: " Brevity is the soul of wit." This promises to be a very busy session, and I can only tender you my warmest thanks and appreciation for the distingushed honor which ha? been conferred upon me by this Association. Mr. Wolfram : I would like to be recognized, inasmuch as Mr. Hahn is here. I have something to bring before the committee, touching^ Mr. Hahn's services in our behalf. Some of us tried to buy a nice pres- ent for him, but Mr. Hahn became aware of that and he interposed, so our scheme was frustrated, but I am not ashamed to offer a resolution that will express exactly what we think. Whereas, This wonderful gathering bears everywhere in golden letters the imprint " J. H. Hahn,'' the Xapoleon of the Association. His zeal and enthusiasm being worthy of the most enthusiastic laudation. As the meeting advanced, fresh proofs of his measureless enthusiasm and untiring labors came to light,his suggestions evincing his eminent talent, and the whole meeting operating like a well-oiled piece of mechanism. Therefore, Resolved, That we feel deeply the enormous debt we owe to J. H. Hahn, and we regret our inability to liquidate this obligation, and offer, instead, our hearts to him in gratitude. Resolved, That this resolution be signed by the President and Secre- tary, and that the seal of the Association be affixed, and that this docu- ment be transmitted to J. H. Hahn as a souvenir through life of the good will of the N. M. T. A. The resolutions were adopted unanimously. Mr. Hahn : While I appreciate my friend Wolfram's very codial and kind intention, it seems to me it would be well to submit these resolutions to some committee for revision, and I hope such committee will be ap- pointed. Mr. Wolfram : I object to one word being stricken out. The President : We have a great deal of important business on hand, and the chair would rule that after this well-warranted and just 172 MUSIC teachers' national association. compliment had been extended to the President-elect, that hereafter no more new business will be brought before the Association. I will ask the indulgence of the house while the Chair brings before the Association a matter which would, perhaps, more properly come at the end of our session ; but, as I cannot time the end of the meeting, I am anxious to have the matter brought before you at the present moment. At the close of this meeting my tenure of Presidency of this Associa- tion will cease. I cannot lay down the duties of the high ofBce with which you honored me in Philadelphia, a year ago, without expressing my heart- felt gratitude to all of you, fellow- officers of the last year, and fellow- members of many years. During the year that is past I have spared you all unnecessary correspondence, and you have been as considerate of me. One and all, we have attended to our duties with little prompting, and no nagging or quarreling. This city of Detroit, famous for its wide streets, its enchanting river, its fair women and genial, whole-souled public men, was so well-known to us, at least by reputation, that Detroit had but to speak the word, and we most gladly responded to her bidding and came. None who ever saw Wagner's " Meistersinger " can forget the scene between Walter and Eva when their hands are joined by Hans Sachs, amid the acclamations and waving of handkerchiefs. For the present meeting between Eva Detroit and Walter M. T, N. A. we are in- debted, not to Hans Sachs, but simply to Hahn, and I call upon this as- semblage to salute, in true Meistersinger fashion and with loud acclaims, our new President, with the cry of " Hahn and Minneapolis in 1892." (Amidst cheers and waving of handkerchiefs, the retiring President stepped to the organ and played a few of the opening measures from Wagner's "Meistersinger," with full organ, its conclusion being greeted with a hearty and prolonged "Ameij." from Secretary Perkins, a la Beck- messer, which caused another rousing cheer, the episode producing spon- taneous, solid merriment and good feeling.) Mr. Hahn : Mr. President, ladies and gentlemen, this is becoming overwhelming. If there are any more bewildering surprises sprung on me I hope to be notified, in order to vacate. I beg to reiterate my thanks. The President : We will now proceed with the business before us. The Treasurer, Mr. Dana, will make his report. Mr. Dana : I have presented my ideas through the Auditing Com- mittee, and it has probably been acted upon by you. I have deposited to our credit $563.56, which consists of the following fundg : Eight life memberlhips, $200 ; subscriptions to the Orchestral and Choral Fund, $143.80, and the balance, $19.76, making the amount, in all, $563.56. I might say to you that within twenty-four hours I have received several further subscriptions to the Orchestral Fund, and several have asked me for their receipts, which I have mailed to them, and you will find them at your homes when you return. As a matter of business, there is one feature of our Orchestral Fund that is, to me, very peculiar. On the payment of $25, you are promised that you will have no further membership fees to pay. The result is that. secretary's report. 173 if we go on in this way, we will deduct eight per cent of it each year, and I wish we might have stricken out that feature of it. It is nothing more nor less than borrowing that amount and paying eight per cent, interest for it. If we could look upon this $35 subscription as something given by you it would be better. I know of a good many people who would like to loan money at that rate, and I could get you a large amount of it within twenty-four hours. That is the way the matter stands. That is the condition of that fund, and that is the feature of it, to me, that I think is really misunderstood. I want to thank the members and officers of this Association for their kindness to me during the year. My rela- tions with them have been very pleasant. The President: You have heard the Treasurer's report. Before pro- ceeding to put Ihe question to the house, in order to preclude the supposi- tion of the necessity of discussing the matters which the Treasurer has laid before us, I will state that provision has been made for a standing com- mittee to regulate all the affairs to which these bills and the Treasurer's report refer, and they will pass into their hands upon their appointment, and these matters will be laid before us at our next meeting. We could not take any constitutional action upon it to-day, under our rules, so we are not guilty of any discourtesy. On motion, the Treasurer's report was accepted. The President : The'next business on hand is the Secretary's finan- cial report. The Secretary : This report commences with the settling of the business of last year, in accordance with the published report which you have probably all seen. There was a cash balance on hand of $6.75. I will say, by way of preface, that whiyh many of you know, that at the close of the last meeting there was no money in the treasury. I was compelled to raise the money in some way, in order to publish the pro- ceedings and pay the Vice-Presidents' expenses, which had been voted by the Association. Enough was received from back- membership fees to pay that which« had been voted by the Association to the President, and the Vice-Presidents' bills. That settled up all expenses for the year;, excepting one item, and that was the item for expense in publishing the report. As I have stated, there was not a dollar in the treasury, and I must get that report out or, possibly, be censured ; at least, I should cen- sure myself, although it is not the duty of the Secretary to raise funds. By hard work, I secured money enough from advertisements to pay for the book, and leave a small margin to go into the treasury. The receipts, up to the commencement of this meeting, were $1,587.61 from membership fees, the sale of reports and other books belonging to the Association. The expenses have been, in round numbers, $1,404.49. Itemized : Printing, $534.86 ; postage and sundries, $269.63 ; Secretary's appropriation, $600. Total, $1,404.49. Deducting the amout paid from the amount received leaves a balance of $183.13. This is, perhaps, the best showing we have ever had up to the begin- 174 MUSIC TEACHEES' NATIONAL ASSOCIATION. ning of the Gouvention. I must compliment the Executive Committee in managing the advance sale of tickets I desire to return hearty thanks to the officers and members for the courtesies extended to me during the past year. Harmony and fraternal regard have characterized every business transaction. Even when I have put spurs to delinquent members they have responded with a smile. The duties of my office are indeed ard uous, and if I were to consult my busi- ness interests, I should have to decline the honor and burden of serving longer as Secretary, for the pecuniary consideration is no inducement . in fact, so much time is demanded that my professional work — my bread- and-butter business — suffers. Nevertheless, I thank you for your confi- dence and endorsement of my three-years' past services by re-elect- ing me for the ensuing 3'ear. I will serve the Association to the best of. my abili^y. Mr. Jepson : We all appreciate the report just made by our worthy Secretary, and, in connection with that, I have a resolution which I wish to offer. I think it is conceded on all hands that the labors of the Secre- tary have been arduous during the past year, and will be in the prepara- tion for the next meeting. We all believe, and I think I voice the senti- ment of the Association when 1 say that we have a most genial and effi- cient Secretary, and so ought to keep him in his place. I therefore offer the following resolution : Resolved, That a typewriter be purchased out of the funds of the As- sociation and presented to the Secretary to aid in his correspondence, and that Mr. Heath be authorized to make the purchase, and present it to the Secretary. Carried. On motion the Secretary's report was accepted. The Peesident : The next business will be the report of the Audit- ing Committee. Mr. Parker : Mr. rresident, Ladies and Oentlemen : The Auditing Committee respectfully submits the following report: We have examined the accounts of the Secretary and Treasurer of the Association, and find in both instances a perfect agreement between the items of account and accompaning vouchers. A word of commendation is due these officers, alike for the clearness of their statements of receipts and expenditures and their care in the preservation, statement and arrangement of their vouchers. The examination of the Secretary's accounts review the fact that at the close of the last session the treasury was empty, while the Secre- tary was expected to issue the annual report. Secretary Perkins was, as usual, equal to the emergency and succeeded b}^ solicitation of advertise- ments and by similar means, in raising a sufficient sum to cover the ex- pense, and leave a small balance which was placed to the credit of the Association. The committee recommend the following addition to Section 7, Article 2 of the Constitution. This Article pertains to the duties of the secretary's report. 175 Treasurer. "If any funds of the Association be deposited in any banii, or other financial institution, said funds shall be deposited in the name of Treasurer of the M: T. N. A," The object of the resolution is to furnish a proper safeguard against loss by accident or complication of accounts. With reference to the Orchestral and Choral Concert Fund, your Committee would recommend definite action, transferring life member- ship fees to this fund and giving the proper receipts therefor. Your Committee is also of opinion that the action of the Association at the Philadelphia meeting was sufiiciently explicit to safely guide the Committee on the Orchestral and Choral Concert Fund, but ventures the suggestion that the place of the outgoing member of the Auditing Com- mittee-should be filled at once, and that the Committee should meet in the near future for consultation to devise means to reach all members, all of which is respectfully submitted. The President: The chair would state that these suggestions are worthy of the most careful consideration, but of course, as they affect constitutional action, we cannot take any action upon them at this meeting. Mr. Landon: The report has been posted according to the require- ments of the constitution. Mr. Hahjst: I would like to add to the clause directing the Secretary and Treasurer to deposit all moneys of the M. T. N. A. in some designated depository, that it also apply to the Executive Committee. I would like to amend that one clause, so as to include the Executive Com- mittee, as well as the Treasurer. Mr. Land on: It is a little ahead of time, I think. The change as posted should be moved first, and I think this amendment would come afterwards. I move that it be referred to the Committee on Constitution. The motion prevailed. The report of the Auditing Committee was accepted. The President: The next business in order is the reception of the report of the Committee on the report of Vice-Presidents. Will the chairman please step to the platform. Mr. Stewart: Your Committee have gone very carefully over all the reports, and have condensed in these series of papers a report, and have also made some general observations. But it seems to me this can just as well be printed in the report and relieve you from the necessity of listening to them, unless you wish to have to them read. Mr. Landon: I move that the condensed reports be printed and not read. The motion prevailed. CONDENSED VICE-PRESIDENT'S REPORTS. VIRGINIA. F. R. Webb reports: No Association yet, though much has been done looking to that end. The leaven is working. 176 MUSIC TEACHEES' NATIONAL ASSOCIATION. SOUTH CAROLINA. Ernst Brockman reports: Not yet ready for a State Association. Too few teachers and not enough money. There is improvement in methods and in the number studying music. This is due largely to the fact that elementary music is taught in the public schools, also, the M. T. N. A. exerts a powerful influence. Has used about half of the advertising material sent, and issued a circular of his own. Has ex- pended $5.00 for postage and done much work, and only asks to be accredited a membership. TENNESSEE. Mrs. E. T. Tobey reports: Not sufficient interest yet to organize an Association. Has done much work. NEW HAMPSHIRE. E. T. Baldwin says: Having been a member of the National Association for several years, and notiDg that the best efforts of former Vice-Presidents to create an interest in the M. T. N. A. and to secure members thereto, have been fruitless, I could see but one road to success, viz. : First, form a live and healthy State Association, then on all proper occasions press home upon them the plans and purposes of the M. T. N. A, and the advantages of co-operation. Assisted by a few of the faithful, I entered upon the work. We have organized the New Hampshire M. T. A. Our plans are nearly completed, advance programs issued and our first meeting will be August 11 to 15. To speak here of the discouragements and weary hours of perplexing work which falls to the lot of those who undertake to organize State Associations would be like " carrying coals to New Castle," you know all about it, and will readily understand why I have done but little this year for theM. T. N. A. I have, however, distributed circulars, and sold all the official reports sent me, and have given much time to sowing the good seed. We hope to show you samples of the fruit at the next session of the M. T. N. A. ILLINOIS. Colvin B. Cady reports as follows : At the request of the Executive Com- mittee of theM. T. N. A. it was decided by the Executive Committee of the State Associations to postpone the State Association for one year. Sent the official program to nearly one thousand teachers of the state, also, had printed a concise statement of the program of this meeting and sent to over five hundred, together with a circular letter requesting its publication in the papers. * CALIFORNIA. J. H. Rosewald reports: State Associations disbanded, although great effort was made to hold it together. They ask, " Of what use is the Association to us of the Pacific Coast? " I cannot give a satisfactory reply. Suggest as a remedy to place some Coast members in the several com- mittees. secretary's report. 177 INDIANA. W. F. Heath reports: Our State Association postponed its meeting in favor of the M. T. N. A. Hope for a fine meeting in 1891. TEXAS. Horace Clark reports: State Association is progressing finely, and the meeting to be held June 25 and 26, bids fair to excel all the others in interest and attendance. We are encouraged. There is no bill of expense to the Music Teachers' National Association, as I contribute all I have paid; MISSISSIPPI. N. A. Barbe reports: Appointment received March 1. Entered at once into correspondence with teachers. Received but one answer, and tjiat«vas from Fred G. Talen, of Vicksburg. OREGON. E. Cook reports: No State organization; towns too far apart, and railroads will not give reduced rates. Will not join the Music Teachers' National Association, because too far away and can buy report for 25 cents and receive all the benefits. Sees some light. NEW JERSEY, Henry Harding reports: Could not do the work necessary to organ- ize a State Association. Next year hope to. Music Teachers' Nati'onal Association members from New Jersey have increased more than 100 per cent. They favor biennial meetings of the Music Teachers' National Association and State meetings in April or December. CONNECTICUT. N. H. Allen reports: I thought a State Association could not be organized. But we went to work and it was done, and the success sur- prised everybody. Began in August to get names; in December issued 1,200 circulars, inclosing in each a membership blank. In March I had 100 enrolled. I then decided to have a meeting. Then decided place, date, sent outline of program, and as a result we have over 350 active members, and over 600 associated members. No musical occasion in the State was ever so successful. The hall was too small to hold the people, and another could not be procured. Over $200 will be handed over to the Treasurer. The next meeting is very promising. Have pre cured four members for the Music Teachers' National Association. Have worked so hard for the State, I could do but little for the Music Teach- ers' National Association. COLORADO. Otto Pfefferkorn reports: No State Association yet; distances too great. The suspicious air left by the red men not yet scattered. If you could come and hold a meeting of the Music Teachers' National Associa- tion in the nice church pictured in Harper's, it would stir us up. 178 MUSIC TEACHERS' NATIONAL ASSOCIATION. NEW YOEK. Chas. W. Landon reports: The Music Teachers' Naiional Association was advertised in the Annual Report of the New York State Music Teachers' Association, in the circular of information (edition of 17,000), in the Advance Program (an edition of 17,000), and the special attention of the county vice-presidents of the New York State Music Trachers' Association was called to the Music Teachers' National Association. Many of the circulars and application blanks of the Music Teachers' National Association were sent to leading musicians, and the President's address before the meeting of the State Association at Saratoga Springs gives a paragraph to the interests of the Music Teachers' National Asso- tion. New York State Music Teachers' Association had a membership at its Saratoga meeting of about 1,650. Also some articles were published in the music journals for the work of the Music Teachers' National Asso- ciation, including one that I wrote for the Orchestral and Choraf Fund. A package of annual reports of the Philadelphia meeting of the Music Teachers' National Association were received, some given away, some sold, and I have some copies of past years. Expenses for express have been larger than the receipts for reports sold. I cheerfully donate the balance. KANSAS. John W. Metcalf reports: No State Association. Distributed circu- lars and other matter sent him. Sold one report. Donates postage expense, etc. MINNESOTA. Walter Fr. Petzet reports: Musicians talk of organizing a State Asso- ciation, and if the Music Teachers' National Association comes here we can do it. The possibility of its coming here has stimulated things won- derfully. -Sent $18 for membership fees to the Secretary, and cash for 8 reports. Gave concert for Music Teachers' National Association, but it did not pay expenses. I donate my efforts and shortage. WEST VIRGINIA. Lily R. Church's report is complete in detail as to letters sent, circu- lars, answers, visits, newspapers, moneys received and expended, list of new members, etc. MISSOURI. M. I. Epstein reports: No State Association, though many letters sent, and considerable effort made. A number of new members for Music Teachers' National Association secured. All expenses donated to Orchestral Fund. VERMONT. M. H. Eddy reports: I hope"you will pardon me for not making my report before this, but to say the least I have no report to make. Have often wondered why the Vice-Presidents of Vermont didn't ''wake up" secretary's report. 179 and do something in regard to forming a State Association, but I see it all now: "One swallow does not make a summer." Have written several letters and as I have traveled about this part of the state some, have met the more prominent teachers, and the most encouragement I have received was that such an association would be a nice thing, but they had no money to put into it or to become members of the M. T. N. A., so what is a fellow to do here in the northeast corner of Vermont alone, with no one to help him? Not one of the M. T. N. A. reports for 1889 the Secretary sent me have been sold. I regret to say that business is such that I cannot attend the meeting at Detroit, and as yet have not been able to hear of any one that is to attend from Vermont. Should there be one at the meeting, you may appoint him or her to act in my place. What expense I have been to I will donate. WASHINGTON. F. Mueller reports: A good many letters written. One new member of the M. T. N. A. A choral society soon to be organized, also an orchestra: Art soon limps along after material development. The *'Baby State," not 10 years old, already has much art within its borders, and which will soon be organized into an Association. Much more would have been done, but fire devasted the country and it has required much time to rebuild. NORTH DAKOTA. Mrs. F. Klapp reports : Pianos are multiplying. Teacher's time fully occupied. Students anxious to get thorough instruction. Some new members of the M. T. N A., bijt no State Association yet. Have sent over thirty new addresses to the Secretary. Choral societies organ- ized, and much work done. Donate all expenses. WISCONSIN. J. C. Fillmore reports: Illness prevented the organization of a State Association, but considerable work of a general nature has been done. UTAH. J. P. Meakin reports: Some work done but little interest aroused. IOWA. A. Rommel reports: Personal solicitation for M. T. N. A. members has been quite successful. Letters not answered. There would be greater interest here if the M. T. N. A. were a delegates' body. Have a very prosperous State Association, but the majority feel that the National is foreign to them. This would instantly change if the M. T. N. A. were a delegate body. PENNSYLVANIA. Chas. A. Jarvis reports: Considerable work done in the way of sending out circulars, etc., and suggests biennial meetings. 180 MUSIC teachers' national association. KENTUCKY. R. de Roode reports: State Association meeting postponed at the request of the officers of the M. T. N. A. Much work done in mailing statement of postponement of meeting and Orchestral Fund documenta. Sends in $5.00 from Miss Bird; $5.00 from Mrs. Ballard, Lexington; $5.00 from Miss Walters, Cynthiana; $2.00 from Miss Pete, Millerburg, and $8.00 of his own, making $25.00 in all for the Orchestral Fund. He presents a bill of $16.00 for expenses, to which, when it is paid to him, h« proposes to add $9.00, making another $25.00, $50,00 in all, and donate it to the Orchestral Fund. ALABAMA. C. S. Doyle reports: Some work done. Donate expenses. NORTH CAROLINA. W. H; Neave reports: The musical conditions in North Carolina are undergoing a very needed change for the better, and the near future gives promise of sterling and permanent musical excellence in every ramification of the art. NEBRASKA. Minnie D. Cochran reports : Could not sell the official reports, advises that they be given away. Sent circulars and programs of the Detroit meeting all over the State. MONTANA. Mrs. Emily J. McMillan reports: Is sorry to make a report that sounds like nothing at all. While the climate and scenery are all that can be desired, music has scarcely been born. Distributed the official report sent by the Secretary and Detroit programs. Helena is the leading musical town in the State, the V. P. should be located there. Resigns. ARKANSAS. Mrs. L. Herwagen reports: Sorry not to be able to attend Detroit meeting. Has distributed the reports and circulars. Labored to secure new members but without success. Is not much encouraged with the outlook in the State. Will cheerfully render assistance to any other person whom the President may appoint to serve in my stead. TENNESSEE. Mrs. E. T. Tobey reports: Regret not to be at Detroit. Press notices and circulars have been sent out. The outlook for a State Association is not encouraging, but hopes for an improvement next year. Donate ex- penses. SOUTH DAKOTA. Myra Ross-Wagoner makes the following characteristic report: "Am aware I should make some kind of a report of South Dakota. Will not be able to attend the M. T. N. A. this year because I am engaged in secretary's report. 181 strengthening the body and forming the mind of the future American Prima Donna Contralto. South Dakota is full of wind, Artesian water, the gooseberry peddler, (the noble red man,) Norwegians, Bohendians, Scandinavians, Boston- ians, and great possibilities, therefore is destined to become in the near future a great musical centre. The Indian blows in the brass band, the Bohemian plays upon the accordion, the Norwegian owns a cabinet organ, the Scandinavian sings in a chorus, and the Bostonian, everybody knows what the Bostonian can do, he lives in the larger towng and cities, and cultivates the voices, and conducts the choral unions» and sings the baritone solos, and bosses things generally, just like he does in other States, and is worshiped accordingly and never criticised. There is no State organization, but if the M. T. N. A. will come to the Northwest next year, as it should do, there will doubtless be one organ- ized. Have sent out all the circulars. That's all I know about South Dakota." OBSERVATIONS OF THE COMMITTEE ON V-P'S REPORTS. Reports indicate a varied condition of musical interest in the several States. In some, matters seem ripe for a State Association, and have only awaited some one to make the first movement. In others the pro- longed energy of the Vice-Presidents, have only succeeded in stirring up the musicians to think about it. In still other States there seems to be obstacles, as distance, expense, etc., which cannot readily be overcome. But there has been work done by all the V P's, and the reports, which have been read very carefully, show conclusively that, barring the local standing, of the V-P's', progress in organizing State Associations, and arousing interest in the M. T. N. A. has been in proportion to the charac- ter of the effort made. Where this effort has been systematic, vigorous, and persistant, excellent results have followed. When it has been .merely perfunctory, only a rustle and settling back to old conditions hav^ resulted. Your Committee earnestly recommend the continuance of well planned, energetic and continued effort on the part of the Vice Presi- dents, to arouse public sentiment to the necessity of association as an element in musical progress, and that they secure as far as possible the co-operation of musicians, and keep moving in spite of adverse opinions, in the direction they propose, and we think the reports all indicate that success is certain. In nearly every case expenses have been donated. Only a small sum can be allowed for actual expenses to every Vice-President, and we recom- mend that no charge be made for the service of Secretary or the Vice- Presidents' time. M. CoE Stewart. Max Leckner. H. C. Macdougall. 183 MUSIC teachers' national association. Mr. Stewart : There is another matter I wish disposed of. We have made some recommendations respecting them, but it appeared to us we were not competant authority to direct certain bills to be paid. There are only one or two; one was an item for secretary's services, the other was a charge of $16.00, accompanied with the request that it should be paid, to which amount the Vice President who made the suggestion would add $9.00 and then pass the entire donation over to the Orchestral Fund. This would malfe $25.00 additional to what he had already sub- scribed to the fund, making $50.00 in all. This was Mr. de Roode of Kentucky. I felt that some acknowledgement was due Mr. de Roode for his proposition. Another bill was presented and it seems to me it ought to be referred to the Executive Committee, rather than to our committee. If some one will kindly relieve the committee by offering a resolution that these bills be handed over to the Executive Committee, I should be glad. On motion it was so ordered. RESOLUTIONS. Mr. Towers: Mr. President — This Committee beg to submit the fol- lowing report: Besolved, 1. That the best thanks of the members of the Music Teachers' National Association be voted to the President, Albert Ross Parsons, for the great ability, tact and courtesy with which he has dis- charged the onerous duties of his oflQce. To the retiring Treasurer, W. H. Dana; to the Secretary, H. S. Perkins, and to the Executive, Program and other committees, for their untiring zeal for and devotion to the best interests of this Association. Also to the eflBcient Board of Vice-Presi- dents, who have so faithfully and efficiently performed their duties. Resolved., 2. That the thanks of the'Association be voted to the essay- ists, soloists, accompanists and chorus, as w^ell as to the makers who fur- nished the piano-fortes, and the composers who loaned their music for the various concerts. ResoUed, 3. That the thanks of the Music Teachers' National Asso- ciation be voted to all those who have contributed to its financial support. Resolved, 4. That the most cordial vote of thanks possible be accorded to His Excellency, Cyrus G Luce, Governor of Michigan, and to James B. Angell, LL, D., President University of Michigan, for their kindly and courteous words of greeting; to J. H. Hahn, and the gentlemen who have so zealously, untiringly and successfully worked with him on the reception committee; to the citizens of Detroit generally, and to Messrs. Farrand & Votey in particular, for their unstinted and generous hospi- tality and support; also for the large pipe organ placed in the Opera- house gratis, for our use; to the Common Council for decorating the Court-house; to C. J. Whitney & Co. fcr the free use of the Detroit Opera house; to the Philharmonic club, to Miss Emma A. Thomas, for her efficient labors in the Public School section; to St. Paul's vested choir, to the ladies who gave us the reception, to Major Howes, the Rt. Rev. Wm. Davis, LL. D., Bishop of Michigan; Ex-Postmaster-General Don M. Dickinson, Prof. F. Abel and the Detroit Musical Society, Prof. E. T. Remick and the Euterpe Club, Col. F. J. Hecker, chairman of Entertainment committee; Hon. L. L. Barbour, Dr. E. S. Sherrill, N C. Williams, Jr., and lastly to the local press of the city for the excellent and elaborate ti ally records of the Association's proceedings during the three days' meeting. secretary's report. 183 The committee further desire on their own behalf, as well aB on that of the general body of members of the Music Teachers' National Asso- ciation, to express their deep and unfeigned regret that death; during the past year, has deprived them of the friendship and fellowship of the fol- lowing members of the Association: Dr. Louis Maas, of Boston; Dr. Carl Merz, of Wooster, Ohio; Caroline R. Schneider, of Chicago, 111., and C. M. Loomis, of Kew Haven, Conn., and we hereby extend to their bereaved and sorrowing relatives and friends our deep sympathy in their affliction. Slightly paraphrasing Shakespeare,, we sincerely trust that the good they did may live after them, that the evil (if any) they did may be interred with their bones, and that their bright example of zeal, of earnestness, and of devotion 1o the tender and humanizing art, dear to both them and to us, may not be lost upon those who are left behind to bear still further the heat and burden of the day. [Signed] John Towers. Calixa Lavalle. Wilson G. Smith. On motion the report was accepted. The President: We next come to the recommendation in the President's Address. On Tuesday morning all of those recommendations, except two, were acted upon and adopted; but two of the recommenda- ions were referred to the Board of Vice-Presidents. The first recom- mendation was that steps be taken by means of which the Music Teachers' National Association should secure a place on the official program at the World's Fair at Chicago in 1893. It is now in order for the Board of Vice-Presidents to report whether or not they favor a meeting in 1893. It being in keeping with the action of the Vice-Presidents, on motion duly seconded, it was voted, that we endeavor to secure official recogni- tion for the M. T. N. A. during the World's Fair in 1893. Mr. Heath: I move that we proceed to hear the report referring to the change in the Constitution. Motion put and carried. The President: Will the Secretary read that report ? The Secretary: The report of the Committee on the President's Address is as follows : First: That Section 1, Article 5 of the Constitution be amended by inserting after the first sentence of said section the words " Vice-Presidents shall be appointed by the President with the approval of the Executive Committee, to serve for the term of one year, subject to removal for cause by unanimous vote of the Executive Comnaittee. Second: That the Secretary shall publish in connection wiih the official report the Constitution and by-laws, and also the substance of all resolutions and measures whensoever adopted, which have been made the permanent rule for the work of the Association. Third: That the Secretary be instructed to send a copy of all past reports obtainable to the chief public library in the following cities; Boston, New York, Philadelphia, Baltimore, Washington, Buffalo, Cincinnati, Chicago, Louisville, New Orleans, Indianapolis, St. Louis, 184 MUSIC teachers' national association. Minneapolis, Denver, San Francisco, Detroit, Cleveland, Spokane Falls and other cities. Fourth: That the Association resume its proper title as adopted in New York in 1885, viz., 'M. T. N. A., The American Society for the Promotion of Musical Art.' Further, That the Executive Committee be instructed to take proper steps for the legal change of the corporate name. Fifth: Upon the advice of the Vice-Presidents, we recommend that an extraordinary meeting in harmony with, and as a part of the official program of the World's Fair to be held in Chicago, in 1893. Sixth: That the last clause of Paragraph 6, Section 3, Article 9, of the Constitution, beginning with the words 'And in no case shall the Pro- gram Committee allow,' be striken out and the following substituted, ' And the Program Committee shall make up the programs from the compositions thus accepted by the Board of Examiners, supplementing them as they may deem advisable from selections from other courses.' SeDenth: To amend Section 2, Paragraph D, Article 4, of the Con- stitution by striking out the following ' A fee of two dollars,' and insert 'Not less than five dollars, and not more than ten dollars, at the dis- cretion of the Executive Committee, which fee shall entitle,' Mr. Hahn moved that the whole of Paragraph D, Section 1 and 2, Article 4, of the Constitution, relating to Associate Membership, be stricken out, and such Associate Membership be hereby abolished. The Secretary: And I add, with your permission, that the whole matter of Associate Memberships, special patrons' fees, admission to con- certs, etc., be left with the Executive Committee. Seconded. The President: You have heard the motion. It is based on the ex- perience of the Executive Committee this year. Knowing that so much was at stake at this meeting, without waiting for authority, they have acted according to the necessities of the case, and they have asked you to make legal their action and such action by all future Executive Com- mittees. Mr. Farnum rose to a point of order and the Secretary proceeded. The Secretary: Eight: That the official stenographer be instructed to make two copies of his report of the proceedings, and that he transmit one of these copies to the President and the other to the Secretary, within two weeks from the close of the session. NintJi: We also recommend that it be made a permanent rule as long as the Association shall last to head the membership list in each annual report with the names of those who originated it and signed the call for the first meeting in 1876 under the title 'Founders of the Association.' " On motion the report was accepted and adopted. On motion of Mr. Root it was voted that the reports of Standing Committees be published in the Official Report without being read. Mr. Heath: Before we take up this matter of the meeting of 1893 in Chicago, I would like to make a statement to this house for two reasons: secretary's report. 185 One is, that I was placed yesterday in a very awkward position for myself; and second, I would like to have this house fully understand all that is contemplated in the plan before us. There has been a very seri- ous misunderstanding among a large number of the members as to what that Chicago matter is to be and how it should be brought about, and I will endeavor at this time to make that plain and clear. I think three years ago, or four years ago, it does not matter which, this Association established a commission on church music, a committee, in other words. We told that committee it was intrusted with the inter- ests of this Association relative to all such matters as related to church music as might come before that committee. It submitted last year, as at several other times, reports such as you have just adopted, without hearing them read The Chicago matter is in a like position. The Board of Vice-Presidents have suggested that a commission be appointed, or in other words, a special committee, into whose hands shall be entrusted all the matters relative to the interest of this Associa- tion during the World's Fair; for that period and for no longer. The impression went out at first that the Music Teachers' National Associa- tion was going to elect a new set of officers, or two sets of officers. No such plan, no such idea has been taken into consideration by the Vice- Presidents; it is simply a committee for that special purpose. The object of this is plain to be seen. It is an opportunity that the musical profes- sion has never had before, and possibly may never have again during our lifetime, to put its interests, its standing, its condition — in plain English, exhibit itself before the world. There has never been an oppor- tunity like this for us before. Now, it seems to me wise that such a committee be established. Let me say to you that the officers of the Music Teachers' National Associa- tion for its next meeting have been elected, the place of meeting has been established at Minneapolis. At that meeting the regular officers of the Music Teachers' National Association will be elected for its next meeting, independent altogether of this Chicago matter. You all under- stand the nature of the church music commission, and the Chicago com- mission is a like one. This was the consideration of this matter before the Vice-Presidents. They considered it in that light only. When it was referred to the Vice-Presidents it contained a suggestion that the Vice-Presidents nominate such persons as they thought best fitted to take the matter in hand. They have done so, and it seemed eminently right to them that the members of the Music Teachers' National Association should know who the members of that commission shall be and their fitness for their duties. It seemed necessary, in order to do that, that they should be appointed to the offices which they were to fill. This is a little extraordinary. In such commissions they are usu- ally allowed to elect their own officers, but in this case the importance of the matter made it necessary that we should understand exactly the fitness of each and every man, and should have an understanding of what duty he was to be assigned. In order to accomplish this and bring 186 MUSIC TEACHEES' NATIONAL ASSOCIATION. it openly and squarely before every one of you, we so arranged the com- mission relative to the officers that we should have the best fitted to* serve in every single office that came up for consideration. The Vice- Presidents carefully considered the merits, advantages and disadvant- ages of every one they could think of relative to these positions, and according to their best judgment have placed in nomination such persons^ and those names have been posted on the bulletin board and will be pre- sented by the Secretary of the Board of Vice-Presidents to you. It seems to me that this matter is clearly and squarely before us, and I think you need make no mistake. Let me suggest this to you, that the first thing you settle shall be, is such a commission to be established, and shall the musical profession of this country ask for representation at Chicago. I make a motion to that effect. The motion prevailed. The President: It is ordered that the commission be appointed. Will the Secretary of the Board of Vice-Presidents report the recom- mendation of that Board as to the organization of that commission? The names, of course, will be read continuously from beginning to end, and then afterwards discussed. Mr. De Roode : Would it not behest to hear the reading of the^ report? I move that it be called an International Congress of Musicians. Motion carried, (Note. — For convenience t^e proceedings of the Board of Vice- Presidents are inserted here. — Secretary.) BOARD OF VICE-PRESIDENTS' PROCEEDINGS. The Board of Vice-Presidents' met in the Russell House parlors- Tuesday morning at 9 o'clock, July 1, 1890. Present : T. H. Rosewald, Cal; N. H. Allen, Ct; G. B. Hodge, (act- ing for Mrs. F. Klapp,) N. Dakota; C Sternberg, Georgia; C, B. Cady, Illinois; W. F. Heath, Indiana; R. de Roode, Kentucky; S. B. Whitney, Massachusetts; F. Mueller, Washington; jMiss Lily R. Church, W. Vir- ginia; A. A. Stanley, (acting for Mr. J. H. Hahn,) Michigan; W. Petzst, Minnesota; A. I. Epstein, (acting for Mr. M. I. Epstein,) M ssouri; W. A. Barbe, Mississippi; E. T. Baldwin, N. Hampshire; C. W. Landon. N. York; H. Harding, N. Jersey; W. H. Neave, N. Carolina; J. Wolfram, Ohio; E. Cook, Oregon; C. H. Jarvis, Pennsylvania; H. C. Macdougall, R. Island; H. Clark, Jr., Texas; E. Fisher, Ontario. The Board organized by the choice of A. A. Stanley as Chairman and H. C. Macdougall as Secretary. After remarks by Messrs. Heath, Wolfram, Langdou, de Roode,. Cady, Petzet and others, Mr. de Roode moved that the Board of Vice- Presidents' recommend as to the M. T. N. A., that the meetings for 1891 be dispensed with and that the place for meeting in 1893 be Chicago. Carried. Mr. Rosewald moved a reconsideration, pending which the Board adjourned to 1:30 p. m., same place. secretary's report. 18T Tuesday, July 1, 1890. The Board met in the parlor of the Russell House but immediately- adjourned to 5 p. M,, same place. Tuesday, July 2. The Board met pursuant to adjournment at 5 p. m. In addition to those present in the morning were : Mr. J. W. Ruggles, (acting for Mr. A. Rommel,) Iowa; Mrs. A. L. Layton, Nevada. Reading of minutes dispensed with. Voted, That the Board recommend that the meeting for 1891 be omitted and that we meet two years hence in Minneapolis. Voted, That we proceed to the nomination of officers for the ensuing year. The following were nominated unanimously : President, J. H. Hahn of Michigan; Secretary, H. S. Perkins of Illinois; Treasurer, W. F. Heath of Indiana. ' For Executive Committee : Carl Lachmund, Minneapolis, Chairman "Walter Petzet of Minneapolis and S. A. Baldwin of St. Paul. For Program Committee : Arthur Foote of Boston, Chairman; N. H. Allen of Hartford, Conn, and J. H. Rosewald of San Francisco. For Examining Committee of American Compositions : E. A. Mac- Dowell of Boston, Chairman; E. Kroeger of St. St. Louis, C. H. Jarvis of Philadelphia and Hugh A. Clarke of Philadelphia, alternate. For Auditing Committee : J. W. Ruggles of Fayette, la., Chairman; C. H. Congdon of St. Paul and F. A. Parker, of Madison, Wisconsin. Voted, That the Board recommends that an International meeting be held in 1893. Voted, That the Committee appointed by the President of the M. T. N. A. to consider the recommendations contained in his address be elected b}^ the Board to report to it. Voted, To adjourn to 5 p. m., Wednesday. Adjourned Meeting, Wednesday 5 p, m. Voted, That Wilson G. Smith, of Cleveland, be chairman of th© Program Committee for 1893. Voted, That the name of the Association be changed to the following, to-wit: "M. T.N. A. An American Society for the Promotion of Musical Art," and that the legal incorporation of the new title be referred to the Executive Committee with power to act. Voted, That the set of resolutions formulated by the committee to whom was referred the President's Address be adopted. Voted, That Hugh A. Clarke, of Philadelphia, be elected alternate on the Examining Committee of American Compositions, in place of H. C. Andres. Voted, That an International Congress of Musicians under the auspices of the Music Teachers' National Association be held in Chicago 188 MUSIC teachers' national association. in 1893. The following officers were recommended unanimously for election for 1893: President: Dr. F. Ziegfeld, Chicago. Secretary: H. S. Perkins, Chicago. Treasurer: W. F. Heath, Indiana. For Executive Committee: Mr. F. G. Gleason, Chicago; Mr. O. L. Fox, Chicago, and Mr. J. H. Hahn, Detroit For Program Committee: Mr. C. Sternberg, Philadelphia; Mr. C. Lavallee, Boston, and Mr. A, R. Parsons, New York. For Examining Committee of American Compositions: Mr. Dudley Buck, New York; Mr. E. M, Bowman, New York; Mr. S. B.Whitney, Boston, and Mr. J. H. Rosewald, San Francisco. The Secretary was instructed to make a record in the minutes that Mr. Rosewald was nominated in opposition to his own emphatic protest. Voted, That the greetings of the Board of Vice-Presidents be carried to the musical profession in the States of California, Nevada, Oregon and Washington, represented by Messrs. Rosewald, Cook, Mueller and Mrs. A. L. Layton, respectively, and a hearty invitation to visit future meet- ings of the Music Teachers' National Association be extended. Voted, That the following be recommended as Auditing Committee for 1893: O. Blackman, Chicago; Max Leckner, Indianapolis, and C. W. Landon, Claverack, N. Y. Voted, That the title of the Association be not abbrieviated except as regards the first four letters. Russell Parlors, Thursday 1:15 p. m. Present: Mrs. Layton, Miss Church and Messrs, Ruggles, Fisher, Baldwin, Heath, Barb^, Wolfram, Harding, de Roode, Petzet, Clarke, Mueller, Harding, Parsons, Pratt, Whitney, Jarvis, Sternberg, Hodge, Howe, Cook and Macdougall. Mr. Stanley in the chair. Voted, That President Parsons and Silas G. Pratt be invited to remain and deliberate with the Board. Reading of records dispensed with. S. B. Whitney sent in his declination as a member of the Examining Board for 1893. After remarks by President Parsons, Mr. Pratt was invited to address the meeting. Voted, That the Executive Committee consist of the three gentlemen first nominated, and the past Presidents of the Music Teachers' National Association, and that said Committee shall organize at the call of the President of the International Congress; the past Presidents to be Vice- Presidents in the commission, viz. : R. de Roode, Lexington, Ky, ; F. B. Rice, Oberlin, 0.; E. M. Bowman, Newark, N. J.; S. N. Penfield, New York, N. Y. ; A. A. Stanley, Ann Arbor, Mich.; Calixa Lavallee, Boston, Mass.; Max Leckner, Indianapolis, Ind. ; W. F. Heath, Ft. Wayne, Ind. ; A. R. Parsons, New York, N. Y., and J. H. Hahn, Detroit, Mich. Adjourned. secretaby's report. 189 Russell House Parlors, Friday, July 4, 1 p. m. Mr. Stanley in the chair. The Program Committee for 1893 having resigned it was Voted, That their resignations be accepted and that Messrs. A. R. Parsons, Calixa Lavallee and C. Stergberg be elected to fill the vacancies. Voted, That the Program Committee for 1893 be extended to five. Voted, That Messrs. Clarence Eddy and F. W. Root be added to that committee. Voted, That the following names be added to the oflaciary of the International Congress of Musicians to be an Advisory Board: Professor David Swing, Dr. H. W. Thomas, Canon J. H. Knowles, Rev. Dr. Gunsaulus, Ferd W. Peck, Marshall Field, N. K. Fairbank, Geo. W. Pullman, Edson Keith, W. K. Sullivan, Geo. Upton. Wm. Penn Nixon, John W. Scott, Washington Hesing, Lyman Abbot, Bishop Potter, Dr. Robert Colyer, Felix Adler, Chauncey M. Depew, Gen. Sickles, Geo. F. Peabody, Edmund J. Stanton, H. E. Krehbiel, W. J. Henderson, Gustave Kobbi, H. T. Finck, Theodore Thomas, Anton Seidle, Arthur JSTikish, Frank Vanderstiicken, Walter Damrosch. Adjourned. Attest: ' H. C. Macdou^all, Secretary Board of Vice-Presidents. On motion the report of the committee was received. Mr. Macdougall read the names constituting the commission, and Mr. Landon moved that they be elected en masse. Mr. Abercrombie moved that the names be considered singly. Motion put and lost. The question then turned upon Mr. Landon's motion. Mr. S. G. Pratt desired five minutes to inform the Association of the magnitude of the undertaking, and to give his views in regard to the appointment of the commission and officers. On motion of Mr. Sternberg the time was voted, Mr. Pratt to speak without being confined to the motion before the house. Mr. Pratt : The business which is to be undertaken by this commis- sion or congress of musicians, if they please to call themselves so, is something like this : There will be held in Chicago in 1893 a great festival of music, which will include choral resources which must be organized not only in Chicago, but in every State in the Union. The co- operation of foreign artists from every foreign land in the world will be expected. The raising of the money for that purpose will cause no trouble whatever, because the amount which is put at the disposal of the commission, the World's Fair Commissioners, will be adequate and they will devote to that festival not less than $100,000 for music ; they can do little less than give $100,000. The importance of the solemnity of our duty upon this occasion should posess all. We should forget personalties, we should forget any desire for self advancement, and endeavor to act upon it with the 1^0 MUSIC teachers' national association. solemity which the occasion requires. The extraordinary duty of the Secretary will require the entire time of any one man for a long time. The man into whose hands the money must go, running into hundreds •of thousands of dollars, it seems to me, with all due respect to Mr. Heath, should be some banker who has business standing, who will not only guarantee the funds, but by his association with the business world, would lend dignity to this Association and inspire confidence. Besides, if Mr. Heath takes such a position, it would necessarily divorce him from his profession in connection with the festival, and the congress would lose the advantage of his art as an instructor of singing in the public schools where he stands pre-eminent, and of course where he should ;be placed in that work, in order to do our country honor in that work, which is of the utmost importance and he should be connected in that manner with the festival and have charge of the public school singing. There is no man better fitted for it than Mr. Heath. It would seem better that the Secretary on that occasion should be some business man, fully com- petent to carry out the scheme in all its ramifications, and it appears therefore plain to me that it is unwise to attempt to elect these officers in a hurry at this meeting and in a few hours time. Then again, it would seem that any private enterprise, having for its object the identical purposes here in view for personal and private gain, would fail ignominiously, thus defeating the ostensible object, the ad- vance of musical art, while its real object would be to make money for itself. It therefore becomes essential that some organization which is unselfish in its aim shall take the matter in hand. Such organization is the M. T. N. A. and it is the only organization. It is thus eminently fit and proper that it should take charge of the program of the World's Fair. The opportunity is one that occurs, as our friend has said, once in a lifetime ; it occurs once in a century. It does not occur once in four hundred years, and will not occur again for a thousand years, and shall you in your convention assembled pass upon it in twenty-five minutes. The President : Five minutes having expired, will the house con- cede more time. Further time was granted Mr. Pratt. Mr. Pratt: In view of this I would offer, if you please, an amend- ment. The President: An amendment may be received which is germane to the question before the house. Mr. Pratt: For the purpose of preserving to the art of music a dignified position and a representation worthy and honorable alike to our country and the civilized world, and if possible to prevent the grandeur of its cause and of its standing from being used for purposes of private speculation to the injury — Mr. Wolfram: I protest. The President: The house will decide whether the action of the Board of Vice-Presidents shall be alluded to in this manner. secretary's report. 191 Mr. Wolfram: The gentleman appeared before the Vice-Presidents and laid before us everything he had to say. Mr. Heath: Let us listen to the gentleman frankly and respectfully, it will da us no harm. Mr. Pratt then offered the following: "For the purpose of preserving to the art of Music a dignified posi- tion and representation worthy of our profession, honorable alike to our country and the civilized world, and, if possible, to prevent the glory and grandeur of the Columbian World's Fair from being utilized for purposes of private speculation to the injury of the advancement of musical art interests, not only in America, but throughout the world, be it therefore "Resolved, by the Music Teachers' National Association, in convention assembled, that a Grand International Musical Festival shall be held at Chicago during the Columbian World's Fair of 1893, under the auspices of the Music Teachers' National Association. ' 2. That a special board of twenty-one commissioners be appointed to represent this Association in connection with the proposed musical festival at Chicago in 1893. "3. That the President of the Music Teachers' National Association, and past Presidents, who are still members of the Association, shall be included in the said commissioners. "4. That the President of the Music Teachers' National Association shall call the first meeting of said commissioners not later than the first Monday in September (this year) at Chicago, for the purpose of a perma- nent organization. "5. That the Board of Commissioners shall be and is hereby instructed to add to their numbers representative public-spirited men, whose unselfish patronage of music in the past has been a guarantee of their devotion to the purposes of our Association ; and also such addi- tional members of the Music Teachers' National Association as may be deemed essential to accomplish the object of the commissioners. "6. That the said commission, when duly organized, shall be and is hereby empowered to act for the Music Teachers' National Association, and make all such arrangements as may be by them considered essential to the successful perfojrmances of music which may be given under the auspices of the Association in Chicago in connection with the Columbian World's Fair in 1893. "7. At the regular meeting held in 1892, the special Board of Com- missioners shall make their report. "8. It being understood that this special Board of Commissioners shall not contract any indebtedness exceeding the sum of $100 for the Music Teachers' National Association without the consent of a majority of the members of said Board of Commissioners. "In addition to the twelve past Presidents, the following names are respectfully suggested: "H. Clarence Eddy, Chicago. "Dr. Florence Zieqfeld, Chicago. "Frederic G. Gleason. Chicago. "Frederic W. Root, Chicago. "Mrs. Fanny Bloompield Zeisler, Chicago. "Miss Amy Fay, Chicago. "J. C. Fillmore, Milwaukee. "W. W. Gilchrist, Philadelphia. "S. B. Whitney, Boston. ^'H. E. Krehbeil, New York. 192 MUSIC TEACHEES" XATIO^TAL ASSOCIATION. "Tlie Commissioners to have power to fill vacancies. "9. That any funds which maj be secured by means of the Interna- tional Musical Festival shall be a-^ded to the Orchestral Fund of the Music Teachers' National Association, for the promotion of musical art in A^merica. ••10. That the President immediately notify Senator Palmer, Presi- dent of the World's Fair Commissioners, now in Detroit, of this action. •'11. That the members of this special Board of Commissioners, now present, form a sub committee, and at the earliest opoortunity call upon the President of the World's Fair Commission in a body to secure official recognition of their plan until the permanent organization of the com-> mission is efiected." There is one more thought here which I must add. that any funds which may be secured by means of this International Congress shall be added to the Orchestral Fund of the M. T. N. A. and shall not be dis- tributed to any other individual. Just one word more and I have done. Some objections to the other proposition are these : It proposes to secure from the Music Teachers' National Association, which is the only National Association in the United States, and therefore the only corporate body, all that it can give it in authority. It is proposed to give it life from our Association and that it shaU be clothed with the authority which our name has through- out the entire country, and with no power that it is responsible to. It has no constitution or by-laws to start with. It has no corporate exis- tence. It is responsible to nobody. It wiU be claimed that as a private enterprise it has been sanctioned by the M. T. N. A. and it will have secured aU the benefits of our Association, without being responsible to it in any manner. I move you, therefore, that this amendment be acted upon in the place of the other, seconded by !Mr. Abercrombie. Mr. Heath moved that aU the officers nominated be elected excepting the Secretary and Treasurer. Dk. Zlegfeld : I only wish to make one statement, and that is as to the objection to the Treasurer. It is a shot at ^Ir. Heath. I know if the Board of Directors of the World's Fair co-operate with us, they will certainly not leave $100, (X'O in our hands. They will have their officers, as well as we shall have ourg, and I do not think there is any danger in that respect, and that can all be arranged. Mr. Stewakt: Tliis commission will be responsible to the World's Fair Commission ; that is the responsible power. Mb. Perken's: Every time! There's too much speculation in the $100,000 : Too much wind I It may be politic to confer with the World's Fair commission before pocketirg the money ! The nominee for Secretary does not hanker for the place. The President : The question is on Mr. Heath's amendment, that we pass upon these nominations, with the exception of the Secretary and Treasurer, and that we adopt the whole commission with those excep- tions. Carried by a standing vote. Mr. Stewart moved that the name of H. S. Perkins as Secretary and recretaky's report. 193 W. F. Heath as Treasurer be added, wliicli several members seconded. Carried. Mr. de Roode: I move that the Orchestral Fund Committee be in- structed to correspond with several trust companies, selecting the best one they can find and instruct their Treasurer to pay over to the trust company all moneys they have in their hands over $100. Carried. The President: The resolution of Mr. Barbe offered Tuesdiiy after- noon as to Vice-Presidents recommending artists, etc. was not acted upon. What shall be done with it ? On motion it was adopted On motion, duly seconded, adiourned. (The reports of several committees and commissions are inserted in this part of the book for convenience. 8ecy.) REPORT OF THE CHURCH MUSICAL COMMISSION. FOR THE YEAR ENDING JULY 1, 1890. In the unavoidable absence of the officers of the Commission the undersigned has been delegated to present the annual report. The lines of work which are being followed and the results accomplished during the past year may be briefly summarized as follows : The subject of the philosophical relation of church music to public worship has been given serious study during the past two years by the Secretary of the Commission, who presents herewith an elaborate paper which is respectfully submitted as an appendix to this report, with the request that it be printed in the proceedings of the Association without being read. The subject of the special study of church music by musicians has been recently presented to our notice by the announcement of the School for Church Musicians, to be opened in the fall by the Faculty of Hartford Theological Seminary at Hartford, Conn., under the direc- tion of Prof. Waldo S. Pratt. While it is not the purpose of the Commission to particularize or bring into special prominence any school or schools of music, it nevertheless recognizes the necessity of recording all efforts that are being put forth in this direction, and of exerting what influence it can in favor of these efforts, especially when in their incipienoy. The Sub-Committee on the subject of graded lists of anthems, church organ music, etc., has experienced considerable difficulty in determining upon a satisfactory plan for carrying on their work, but has finally adopted one that it is hoped will be found sufficiently definite to be understood and elastic enough to be practicable. The lists of anthems for example, are of three kinds: 1. Alphabetical according to title, with a tabulated showing of composer, catalogue number (publisher), key, price length (in minutes), difficulty, text and adaptation or utility, as per following example. 194 MUSIC teachers' national association. Title of Anthem. Composer. Cat. No. Key. Price. Length in min. Difficulty. Text. Adaptation. Blessed are the Merciful . Henry Hiles. Ditson . Sac Sets No. 207. Q. .05. Moderate Matt. V. 7, 8, 9. Consecra- tion Beauitude 2. Separate alphabetical lists of titles (with composers) of those of the same degree of difficulty, of which there shall be four, viz.: Easy, moderate, difficult and very difficult, differentiated as follows: Easy. Those involving common chords and inversions, for the most part monophonic, in simple rhythms, of moderate compass and with no solos. Moderate. Those involving diminished seventh cords; no suspensions in close harmony, independent voice leadings of simple character, with rhythm not specially disturbed and plain solos. Difficult, Those involving close harmony, chromatic progressions, syncopations, counterpoint and solos of moderate difficulty. Very Difflcult. Those involving florid counterpoint, extreme compass of voices and solos of difficult execution and expression, as for example. Easy: — Lift up Your Heads Hopkins I will Arise Cecil Moderate; — Blessed Are the Merciful Eiles Rejoice in the Lord. . Calkin Difficult : — Awake, Awake Stainer Grieve Not the Holy Spirit. Stainer Very Difficult: — Lead Kindly Light Jbtainer King all Glorious Barnby 3. Alphabetical lists classified according to special utility or adaptation, according to the following heads : Oljective:—Fv2i\QQ (laudation), thanksgiving, worship (adoration). Subjective: — Supplication (prayer), penitence (repentance), consola- tion, faith (aspiration). Church Tear.-— Advent, Christmas, epiphany, lent, passion (Good Friday), caster, ascension, Whit-Sunday. Church Bites: — Baptism, confirmation, ordination (installation), con- secration (dedication). Morning. Evening. Death. Heaven. The program of church music given on Tuesday, July 1, was the first practical presentation before the Association of specimens of church music approved by the commission. It included almost all the usual musical features of the church service, such as processional, psalter, Te Deum, canticles and hymns, together with a number of anthems of dif- ferent grades. It is regretted that the program had to be given in the Opera-house, thereby incurring a sacrifice of dignity and churchly char- acter, in view of which we earnestly request that in future a suitable secretary's report. 195 church be provided for this purpose, The program is not to be regarded in the light of an entertainment, and the audience should respectfully refrain from applause. For the kind assistance given on this occasion by Mr. J. C. Batchelder, Harrison B. Wright, C. B. Stevens, St. Paul's choir and many other choir singers of Detroit, the Commission begs to return most hearty and sincere thanks. The project of a Church Music Review has been found to be rather too large a one for the commission to engage in at present. A generous offer from Mr. Edgar S. Werner, editor of The Voice Magazine, has been received, however, to the effect that he will publish any matter pertain- ing to the Church Music Commission, and thereby virtually establish a church music department in his paper. This courteous proposition has been gratefully accepted. The Commission is under obligations to numerous publishers, friends, and one member of the Association, for donations of books, pamphlets, music, etc , which are in the custody of the registrar, Mr. S. N. Penfield, in a room provided for the purpose in Chickering Hall, New York city. Prominent among the contributors are Oliver Ditson & Co., who have presented 163 volumes; the Century Company; Novello, Ewer & Co. ; Mr. Max Leckner, and the Churchman Publishing Company. A bookcase has been provided, and Room 4 in Chickering Hall will be found open to all the members of the Music Teachers' National Associa- tion for inspection and use of library in this department. Grateful acknowledgment is made of an offer of a fire-proof depos- itory for this collection from the Faculty of Hartford Theological Sem- inary, Hartford, Conn., but Chickering Hall, New York, has been pre- ferred on account of its more central location. In closing we earnestly solicit from all members of the Association further contributions to the library, and their general interest and co- operation in the work in which we are engaged. We should be pleased to hear from them personally or through the medium of The Voice Maga- zine mentioned, the address of which is 28 West Twenty-third street, New York city. Respectfully submitted, on behalf of the Church Music Commission. Sumner Salter, Secretary pro tern. REGISTER'S REPORT. TO THE CHURCH MUSIC COMMISSION OF THE MUSIC TEACHERS' NATIONAL ASSOCIATION. Your Register has the honor to report that in pursuance of directions from the Commission, the organization of a library has been commenced and encouraging progress can be reported. A plain but serviceable book-case has been purchased at an expense of $15, and donations of books, pamphlets, etc. on the subject of sacred music solicited from various publishers by means of the circular letter which is attached to this report. 196 MUSIC teachers' national association. As a result the following list of works has been received in the course of the year. From Oliver Ditson & Co., 162 works. From The Century Co., 12 works. From Novello, Ewer & Co., 12 works. From Mr. Max Leckner, 2 works. From The Churchman Pub. Co. Subscription to The Churchman from June 14, 1890, one year. Other firms have as yet made no response to the appeal, but we have faith to believe that from these and private sources the library will be rapidly filled up as soon as the wants and plans of the Commission are generally known. The complete list of contributed works is herewith submitted as a part of this report. The library is'kept in a room at Chickering Hall, New York, which has been generously placed at the ^ service of the Commission by the firm of Chickeiing & Sons. The library is free for the inspection of members of the Commission, also, for members of the M. T. N. A. who maybe specially interesed in sacred music. That the library may be of the great use planned for by the Commission, it is hoped that many other works may soon be added, all of which is respectfully submitted, S. N. Penfield, Register Church Music Commission of the M. T. N. A. MUSIC CONTRIBUTED TO THE CHURCH MUSIC COMMISSION LIBRARY. BY OLIVER DITSON CO. Dyer. New Edition of Dyer's Anthems boards, 1834 Zeuner. Ancient Lyre " 1836 Boston Academy Collection of Anthems " 1836 Mucnscher. Church Choir " 1839 Manon. Boston Anthem Book " 1839 Bailif & Handbridgp.. Cantus Ecclesiae " 1844 Wkit. & Qould. Modern Harp " 1846 White & Qould. Sacred Chorus Book " 1849 Oreatorex. Greatorex's Church Music " 1851 Wainaright. Music of the Church " 1853 Ancient Harmony Revived " 1855 Woodbury. New Lute of Zion " 1856 Bool. Sabbath Bell " 1856 King. Grace Church Collection " 1852 Boot. Flower Queen " 1852 Be Monti. De Monti's Favorite Mass " 1856 Cull. Winter Evening's Entertainment '* 1856 BradbU'p. Esther " 1856 Boot. Haymakers paper, 1857 Tuckerman. Cathedral Chants boards, 1858 Farmer. Farmers Mass, B. Flats paper, 1859 secretary's report. 197 Bradbury. Anthem Book boards, 1860 ■Oliver. Collection of Church Music " i860 Baumbach. Sacred Quartettes " 1861 Cook & Perkins. New Olive Branch " 1862 Bristow. Praise to God Cloth, 1862 Werner. Cantate, 2 vols boards, 1862-3 Fetus. Catholic Harp boards, 1863 Wels. Wels' Church Music " 1863 Emerson. Harp of Judah " 1863 Hodges. Trinity Collection of^Church Music " 1864 Buck's. Motette CollectloQ " 1864 Miscellaneous. Chorus Wreath " 1864 Wilder & Davenport. Praise of Zion " 1865 La Hache. La Hache's Mass paper, 1865 Wilcox & Soutkard. Lyra Catholica boards, 1866 Emerson. Jubilate " 1866 Southard. Offering " 1866 Seward, et al. Temple Choir - " 1867 Mason. American Tune Book " 1869 Bach. Passion Music 1869 Concone. Mass in F paper, 1869 Bordese. Bordese's Mass in F. . r " 1869 Thomas. Picnic boards, 18 '9 Emerson c& Morey. Sabbath Guest " 1870 Mucadanie. Mass in B. Flat paper, 1870 Dressier. Peters' Catholic Melodist ' 1871 Buck. Second Motette Collection .boards, 1871 Baumbach. New Collection " 1871 Schoeller, New Year's Eve paper, 1871 Schoeller. Quarrel Among Flowers " 1871 Emerson. National Chorus Book boards, 1871 Niedermeyer. Messe Solennelle paper, 1871 Miscellaneous. Peters' Catholic Harmonist boards, 1871 Fiske. Oflertorium > " 1872 Thayer. Festival Cantata " 1872 Faine. St. Peter " 1872 Wilson. Wilson's Book of Chants " 1872 Ensign. Culprit Fay " 1872 Buck. 46th Psalm paper, 1872 Sisters of Notre Ditme. Peters' Sodality Hymn Book boards, 1872 Sisters of Notre Dame. May Blossoms " 1872 Emerson. Chants and Responses boards, 1873 Banks. Pauline paper, 1873 Butterfield. Belshazzer " 1873 Thomas. Sacred Quartets and Anthems boards, 1874 Banks. Anthem Sr^rvices " 1874 Bressler. Sacrod Selections for Church and Home " 1874 198 MUSIC teachers' national association. Buck. Legend of Don Munio boards, 1874 Rosewig. Cantus Divinus. " 1875 Rosabel. Christmas Gift paper, 1875 Tourjee. Chorus Choir boards, 1875 Banks. Sacred Selections " 1876 Thomas. Diamond Cut Diamond " 1876 Booley. Maria Immaculata " 1876 Chadwick. Joseph's Bondage paper, 1877 Trowbridge. Heroes of '76 boards, 1877 Rosewig. Sodalist's Companion " 1877 Emerson. Emerson's Sacred Quartets " 1877 Parker. Redemption Hymn (alto and Chorus) paper, 1877 Zundel. Choral Anthems boards, 1878 Emerson. Church Offering " 1878 BrucTi. Birches and the Alders paper, 1878 Dow. Dow's Sacred Quartets (male voices) boards, 1879 Thayer Herbert and Elsa paper, 1879 Barker. Deluge boards, 1879 Hanson. Tyrolean Queen papsr, 187& Lewis. Cantica Mariana boards, 1879 Cobb. Mass in F, No. 1 , paper, 1879 Palmer and Trowbridge. Santoral boards, 1879 Emerson. Book of Anthems " 1879 Parker. Church Compositions " 1879 Perkins, {H. 8.) Perkins' Graded Anthems " 1880 Outterson. Christmas paper, 18S0 Mundy. Capital Joke " 1880 Parkhurst. Fall of Jerusalem " 1880 Kieffer and Tenney. Crown of Praise boards, 1881 Battmann. Mass in C (2 voices) .paper, 1881 Leavitt. Cambyses " 1881 Bruch. Flight of the Holy Family " 1881 Williams. Christ the Lord " 1881 Leslie. Vox Laudis boards, 1881 DeMille. 2^0 Chants paper, 1882 Wels. Mass of St. Cecilia " 1882 Burgess. Shepard Church Collection boards, 1882 Hemshaw. Laus Deo " 1883 Emerson. Concert Selections " 1883 Fiske. Mass in E flat paper, 1883 Koschat. Holiday Scenes in Karinthia (sop. and male voices) " 1883 Wels. Third Mass " 1883 Hodges. Rebecca " 1883 Colleciion. Choice Sacred Solos boards, 1883 Sisters of Notre Dame. Wreath of Mary " 1883 Perkins. Star Chorus Book " 1884 Strachauer. Church Music " 1884 erkins, {H. S.) Perkins' Choir Anthems " 1884 secretary's report. 199 Dow. Collection of Responses and Sentences. boards, 1884 Oonvy. Awakening of Spring paper, 1884 Darling. Out of the Depths " 1884 Ouilmant. Third Mass " 1884 Thayer. Mass No. 1 in E flat " 1885 Leonard. Mass in E flat " 1885 Leach. Ctiurch and Home boards, 1885 Werner. Memorare " 1885 Zerralm. Apograph " 1885 Ballard. Ninety-flrst: Psalm paper, 1885 Perkins, {H. 8.) Easter Anthems " 1885 Lewis. Caught Napping " 1886 Goe. Merry Company " 1886 Trowbridge. Emmanuel " 1886 Sisters of Notre Dame. Cantabo Domino boards, 1886 Hitter. Laudamus " 1887 Sisters of Notre Dame. Sabbath-school Hymn Book paper, 1887 Reuberger. Schubert's German Dances (male voices) " 1887 Lackenbacher, Memoirs of a Piano (male voices) " 1887 Leonard. Unison Mass in F " 1887 Kiel. An Idyll " 1887 Emerson. Emerson's Easy Anthems boards, 1888 Dow. Sacred Orpheus (male voicef) " 1888 Leonard. Third Mass B flat paper, 1888 Pilcher. Messe Solennelle in D boards, 1888 Lewis. Christmas at the Kerchiefs paper, 1888 Lewis. Dairymaid's Supper " 1888 Selections. Father Kemp's Old Folks' Concert Tunes Revived, boards, 1889 Oans. Second Mass , paper, 1889 Rocholl. Catholic Vocalist boards, 1889 Selections. Choice Sacred Solos (low voice) " 1889 Gabriel. New and Select Anthems " 1889 Macy. Strange Visitors paper, 1889 Emerson. New Responses boards, 1889 Zerrahn. Index >. . " Costa. Naaman " .... Costa. Eli " Stanford. Three Holy Children paper, Rheinberger. Christoforus " .... Zoellner. Battle of the Huns " .... Hoffman. Fair Melusina " Anderton. Wreck of the Hesperus " Gounod. Messe Solennelle " .... Beethoven. Mass in C " .... Stearns. Mass in A boards, . . . . Rossini. Stabat Mater paper, . . . . Cherubim. Messa Solenne in E " , . . . Berlioz. Flight into Egypt 200 MUSIC teachers' national association. Romberg. Song of the Bell boards, 162 works. contributed by the century company. C. 8. Robinson. D. D. Songs for the Sanctuary cloth, 1865 " " " " chapel edition " 1872 " " " Psalms and Hymns and Spiritual Songs " 1875 " " " Spiritual Songs for Social Worship " 1878 " " " Spiritual Songs " 1881 " " " " " for Sunday schools. .. . " 1881 " " Laudes Domini " 1884 abridged edition " 1884 " " " " " for Sunday-schools " 1884 W. 8. Pratt. Songs of Worship " 1887 Washington Gladden, D. D. Parish Problems " 1887 Richard Oleason Qreene and W. 8. Pratt. Aids to Common Worship " 1887 12 books. CONTRIBUTED BY NOVELUO, EWER & CO. Fetis. Treatise on Choir and Chorus Singing. Translated by Helmore. Ellis. Speech in Song. Silcher. Succinct Instruction for Guidance of Singing Schools. Trans- lated by S. Novello. Archer. The Organ A Theoretical and Practical Treatise. Best. Art of Organ Playing. 2 volumes. Pole. Story of Mozart's Requiem. Stainer. The Music of the Bible. Lussy. Musical Expression. Troutbeclc. Church Choir Training. Spitta. J. S.Bach, his Work and Influence. Translated by Clara Bell and J. A. Fuller-Maitland. 3 volumes. Krehbitl. Reviews of New York Musical Seasons. 4 volumes. Noddlo. Collection of Words of Anthems. 13 works. CONTRIBUTED BY MR. MAX LECKNER, OF INDIANAPOLIS. IND. Hopkins and Rimbault. The Organ, its History and Construction; Lon- don, 1870. " " Les Psaumes de David (French). La Haye et Rotterdam, 1702. 2 books. CONTRIBUTED BY THE CHURCHMAN PUBLISHING COMPANY- One free subscription to the Churchman for one year. secretary's report. 201 REPORT ON THE PRILOSOPHICAL RELATION OF CHURCH MUSIC TO PUBLIC W0R8HIP. The diflQculty of the subject assigned to me is obvious But its importance, too, is obvious. Music and public worship have been long and widely associated together, and their association is usually unques- tioned. It would be useless to raise an objection to their union simply for the sake of argument. Our inquiry is only into the nature and extent of their relation. This inquiry cannot be evaded by any thoughtful and conscientious church musician, for upon his answer to it, whether reached by an iqstinctive impulse or by a slow process of reasoning, depend the entire aim and character of his practical work. The artistic temperament is averse to philosophical inquiry as such, yet the condi- tions of professional-activity absolutely necessitate some attempt to dis- cover the " why " of its various duties in order to reach the right "how" of them. In attacking the great question before us I cannot hope to do more than state as simply and clearly as I can the process of reasoning through which my own mind has passed regarding my owa work as a church musician and as a teacher. Exactly how my views will correspond with those of others is not for me to say. The entire question turns upon the views we take of the real nature of music and of public worship. Given distinct conceptions of our principal terms, and there is comparatively little difficulty in telling whether or not they can be brought into vital relation to each other and if so in what way. Without such conceptions, argument is ambiguous, and conclusions uncertain. Music is often tacitly or openly held to be merely an inanimate thing, entirely disassociated from life. Such a view will not serve us here. For us, music must be conceived more deeply as the product of living men, and a product in which the tokens of its living origin are remarkably preserved. This conception becomes more inevitable if we ask, what impels men to produce and re-produce and study music ? Obviously, on the subjective side music is produced, like all fine arts, under the combined stress of the artist's delight in an idea present to his imagination and of the mechanician's love of construction, and on the objective side It is called forth either by the market or the fame that awaits it or by the knowledge of some social or moral purpose or result that it may achieve. It is either poured forth spontaneously under a pressure from within, or drawn forth by a demand fn^m without. In either case, it proceeds from the mind of a living man. It is a product of life. Exactly how the mental faculties co-operate in producing it is a debateable question. But evidently both intellect and feeling have part in the process. To explain the facts, it must also be admitted that, in all typical cases at least, intellect and feeling are so deeply stirred in the process that through them the whole man is stirred, or, in other words, that the action of both is controlled and moulded by the moral nature. Analysis may fail to unravel the intricacies of this mystery, but its 202 MUSIC TEACHEKS' NATIONAL ASSOCIATION. general character cannot be successfully disputed. Music is a product of the human mind working more or less in its totality, in its union of intellect, sensibility and will. It follows, then, that music, being the offspring of a living human spirit, must bear in some way the likeness of that spirit. This is nearly universally granted with respect to the greater musical productions, and must therefore be granted in some degree for all others of any importance. Music, in short, is an expression, a voice, a message, often unconsciously put forth, yet not really less indicative than other utterances of the human spirit, such as facial expression, gesture and speech itself. No profound study of music in any relation is possible if this vital, human, personal aspect of it is ignored. It is not a mere thing, but a proclamation of something from the depths of a living soul. If music be such a proclamation, of what does it speak ? It is commonly said that music is the peculiar language of feeling as dis- tinguished from reason and conduct. It is undeniable that feeling finds in the dialect of tones resources of utteraLce that are nowhere else so liberally provided. But it is not true that music utters feeling only. It utters feeling more adequately than any other mental function. But it utters thought of certain kinds, though not of all kinds, with intense vividness. At first sight it seems to have little to say from the moral nature taken by itself. But the moment we remember the indispensable work of the will in superintending the action of the intellect and the sensibility, and in general, the invisible unity of action between all parts of the mind, we see that every genuine voice of the spirit must to some degree bring messages from the spirit as a whole. Music, therefore, is an utterance of the entire human personality, having an apparent emphasis upon emotion, but with indisputable intellectual and moral implications. This argument is doubtless plainest in the case of vocal music, in which the logical precision of words is superimposed upon the emotional fulness of tones. A mingling of speech and tone, as in a song, instrumentally accompanied, is surely the amplest, the most varied and the most wonderful of the channels of human utterance. Instrumental music alone may seem somewhat impersonal, but song illustrates our point beyond the reach of dangerous objection. The force of this reason- ing is not broken by citing petty examples in which meaning or content is minimized, or by recalling the immense difficulty of defining in words exactly what meaning a given musical utterance contains. We may safely assert that all music is an utterance, and an utterance that em- bodies an indication of the producer's whole nature. We now advance to ask whether music, thus considered, is a means to an end or an end in itself. The analogy of verbal language will help us here. The primary purpose of speech is intercommunication, the putting of the invisible activities of one human spirit into such sensuous shape as to make them transferable to another human spirit. Speech, therefore, facilitates the interaction of different personalities on each other, and is thus one of the foundations of society and civilization in secretary's report. 203 their highest form. The primary purpose of music, I conceive, should be the same — intercommunication as a condition of organization and development. The only apparent difference lies in the fact that speech gerYCS as a counter for a myriad of petty transactions for which music is absolutely unsuitable. But the anology between speech and music will be found to hold in all matters of genuine importance. Music, then, like speech, is a means to an end. Its value is to be measured by the nature of the end toward which it may be directed. We cannot here pursue either of these three propositions into details or elucidate them by illustration. And we may pause but an instant to note how radically opposed they are to certain current conceptions of music. We all know that instead of being respected as a product of a living human spirit, music is continually being tossed about as only a curious plaything, a lifeless but brilliant bit of bric-a-brac, at most a voiceless and soulless instrument of sensuous pleasure. Instead of being seriously received as a complex language, fraught with expression from the whole marvelous breadth of man's soul, it is takeil as but an operatic cry of mere sentiment or sentimentality, practically devoid of rational or moral quality. Instead of being reverently used as a medium whereby one spirit may touch another and may communicate itself to another, it is deliberately made a matter of purely impersonal technique, without further significance or design or utility than to be made and re- made and examined in an infinite round of reproduction. Against each of these conceptions of music, as of all similar concep- tions of the fine arts in general, we must urgently protest. Each of them has found a place in shaping current notions of music in public worship. But all such narrow views must be abandoned before a theory of church music can be framed that can stand the fire of real criticism. Public worship is usually defined as an expression on man's part of homage, confession and supplication to God. Public worship, then, is such an expression on the part of an assembly or organization, for obvious reasons embodied in a visible or audible form, especially in speech or song. These definitions, however, on close scrutiny prove to be inadequate. It is wiser to say that v/orship is an act of intercourse between man and God, involving as concerns man both impression and expression. Public worship, then, is such an act of reciprocal inter- course between an assembly or organization and God, involving utter- ances on both sides, with more or less intercommunication among the individuals composing the human party to the transaction, the whole necessarily embodied in sensuous form, mostly language and music. Under this latter definition every item of what is called public worship^ however conducted, may be satisfactorily arranged. The address of the assembly to God is best illustrated by the prayers and by most of the hymns, the address of God to the assembly by that large class of scripture- readings covered by the term " didactic " and by distinctly expository sermons, and the address of man to man within the assembly by hortatory # sermons and by h3^mns of mutual character. Numerous other varities of 204 MUSIC teachers' national association. exercise appear in actual public worship, some of which are of a decided!}^ mixed or even ambiguous nature. We need only observe here that this way of regarding public worship emphasizes three cardinal points: (1). That it is a reciprocal act, having two or three somewhat distinct aspects or currents of operation; (2) that its essence is spiritual and invisible, a communion between " the Father of Spirits" and the human soul, the criteria of which are found only in consciousness or by inferential evidence; but (3) that so far as it is public worship it is inevitably embodied in some tangible form, which is a sensuous phenomenon and therefore subject to iuspection and to objective criticism genera, ly. It is convenient at this point to distinguish somewhat sharply between on the one hand (a) Species or varieties of worship, whether express- ively proceeding from man or impressively directed towards him, all of which are essentially physchological or internal, and on the other (b) Modes and forms of worship, expressive or impressive, all of which are essentially phenomenal or external, together with what may be called (c) Accessories of worship, concomitants or circumstances of worship, often expressive on the part of individuals who supply them, but mainly in- tended for man-to-man impression. This classification perhaps should be carried a step or two for clearness. Among the expressive features of worship may be specially named humiliation, supplicatipecial]y is the whole economy of public worship profoundly influenced by the fact that the Almighty no longer speaks in audi*ble tones to His people. All impressive exercises, whether modal or accessorial, must come through a representative and a human representative. Chief among representative officials is, of course, the officiating minister or clergyman. Side by side with him in this regard should be every other special official, like the organist and the choir. Whatever is true of one class of representative, is true of the lest. This analj^sis of the nature of public worship prepares us fo^ a rule regarding both the officials and the outward exercises connected with it, namely, that no one should officially participate in its management who is not a genuine worshiper on his own behalf, and that noihing should be done as a part of public worship that is not itself distinctly an expres- sion of spiritual intercourse between man and God, or that does not deliberately conduce to such intercourse. The practical application of this rule is not easy, but the more it is used the more its marvelous potency will be felt. It completely ignores such petty considt-rations as caprice, prejudice, tradition and sectarianism, and carries the entire sub- ject up to a plane where all sinceie believers in a divine Father can meet in unity. It completely avoids the prevalent error of making an out- ward manner or order the principal thing in public worship, and exalts the inward spirit and meaning of the act into its rightful supremacy. It puts a mark of condemnation on every sort of flippant, worldly and hypocritical performance that may have crept into the house of God, and bows in respect before every act, however humble or artless, which bespeaks or nourishes a real kinship between the Almighty and those who would be His children. It affords for us a convenient bridge of: 206 MUSIC teachers' national association. thought whereby to pass over from the abstract analysis of music and of public worship to a few practical observations about their mutual relations. Instead of entering upon a wearisome dissertation upon the manifold ramifications of this great subject, let us content ourselves with a series of brief remarks that may serve to indicate how the principlea advocated in the preceding pages find their concrete application. We will follow the s^e order of topics here as before. If it be true that real music is not merely an object for inspection but a product of a living spirit, it is clear on the one hand that music should not be interjected into so solemn a transaction as an interview between man and God, much less be made a medium of intercommunica- tion there, unless it be the utterance of a devout spirit, and on the other that truly devotional music should be received and treated generally with exactly the same respectful attention that truly devotional speech is. Music that is not an utterance of the inmost self is a theatrical show. Church music of this hollow quality is simply a masquerade of sacred things. On the other hand, what shall be said for the folly and iniquity of the usual attitude of Christian churches toward what they are pleased to call "the service of praise?" The entire musical administration in many places is simply preposterous from top to bottom if music has any genuine quality as a spiritual utterance. Which party is the more open to satire and rebuke: the musical profession, to which church work is such a lucrative field of evolution, or the congregations and oflicials of churches whose Christian common-sense is stampeded by rudimentary musical questions, it is indeed hard to say. If music be a language, its capacities as a language should be dili- gently considered in whatever work it is set to do. Although its intel- lectual and moral capacity is largely underestimated, it must be admitted that for the present instrumental music is mainly important for its emo- tional expressiveness and influenciB. Vocal music, too, is customarily so used as to eliminate much of its value except as a specialized variety of instrumental music. But in the combination of speech with song there is the possibility of effecting a much more perfect utterance of the human spirit as a whole than is generally realized. If music is to be used in church worship, the conspicuous union of the intellectual, the emotional and the moral elements is a necessity. Anything less will result in waste and misunderstanding. If the purpose of music as a language be intercommunication as a condition of organization and growth, church music, to justify its exist- ence, must demonstrate its power to aid in that intercommunication which is the condition of all genuine religious progress. If it is to be used as a religious weapon, its qualities must be more widely known and more wisely employed than is now the case. It is probable that the <;hurch of the future will have a musical department not less prominent and effective than its Sunday-school department now is. To this end, secretary's report. 207 •very minister should study church Ausic as a cadet studies tactics, and every church musician should be trained as a parochial assistant. It is obvious that music cannot be itself a species of worship. It is not coordinate with such elements of worship as supplication or instruc- tion. It must always be a mode or accessory of worship, and thus co- ordinate with prayer and preaching. As a mode of worship, music is plainly more suitable for containing ideas in which a large amount of feeling is present. It is unavailable for the detailed recital of items or arguments, and for everything in which the logical and the critical are prominent. Musical settings of doctrine and of extended prayers are unpractical, as of the ten commandments or of a sermon. As a mode of worship, music in the church is always to be judged by reference to the species of worship it embodies. It has absolutely no value of its own. " Art for art's sake " has no fitness as a choir motto. Particularly is attention due to this when, as must be often the case, music is introduced into a service as a representative, delegated exercise. Self-effacement is often the cardinal virtue of a church musician. The immense value of instrumental music as an accessory of public worship is only beginning to be known. The voice of " the king of in- struments" ought everywhere to be heard with regal power as a prepara- tion for verbal exercises, as a connective between successive exercises, and as a seal upon the service as a wimble. But how few organists are ready to wield their power in this regard with deliberate and convincing effectiveness. The accessoral use of vocal music in conveying from man to man within an assembly, thoughts and feelings stimulative of real worship is common, but unfortunately not in entirely good artistic repute. Musicians are sometimes wonderfully unwilling to shoot anything but blank cartridges and to aim anywhere but into space. If there be any validity to the rule about official leaders and about the make-up of a service of worship, its application should not fail in the music department. The only way that the toleration of irreligious church musicians and of entirely undevotional music in so many of our churches can be explained is to take refuge in a sophistical philosophy of the relation of music to church worship or to plead ignorance or indolence. The one explanation is foolish, and the second contemptible. Signs are observable throughout the country that christian common- sense is awaking upon this subject. Instinctively in many quarters changes are being made that point to a strictly religious use of music in religious connections. The theory of the matter is also receiving careful attention, and becoming a topic of current christian discussion and of formal instruction in various circles. Whether the net outcome of this tendency of the time in America shall be the acceptance of a view of the philosophical relation of music and public worship at all like that of this essay is of small moment, pro- vided only that the process of analysis, discussion and revolution goes on 208 MUSIC teachers' national association. until a condnsion is reached, in which the inherent dignity and immense gcope of both fields are adequately recognized and their mutual relations fixed upon the highest possible considerations. Waldo S. Pratt, Chairman. REPORT OF COMMITTEE UPON NA.TIONAL METHODS OF MUSICAL INSTRUCTION-YOCAL SECTION. Many difficulties have confronted the committee in this department. The absorbing professional engagements of the members made it im- possible to devote much time to the work. The distance of the members from each other made an actual meeting impracticable; and when correspondence was at length opened, the subject proved to be in such shape that much preliminary discussion of plans and terms would inter- vene before a common ground to build upon could be found. The brief account of our proceedings is as follows: It was impossible to get at work until April or May 1, but at that time the chairman, in order to begin proceedings, wrote out his individual views of the subject upon this general plan. First the whole question of the treatment of voices and the grading and systematizing of a course in voice culture and singing was considered under six heads as follows: 1. Musicianship.— Meaning that^^hich is absolutely necessary to eflacient use of a cultivated voice, viz. ; ear training, the rhythmic sense and the ability to analyze masic and read it at sight. Tone I Toduction. — In four departments, register, placing, resonating and breath support. S. Declamation. — Or the use of language for impassioned expression. Jf. Execution. — Referring to phrasing style and agility. 5. Expression, — Including the various means of arousing emotion and producing a mood. 6. Collaterals. — Or those accessories to singing which may enhance it as piano, literature, composition, form and languages. Each one of these departments was then considered in detail, and the specifications under each head were arranged in six grades. A considerable number of representative songs were selected and graded to correspond with the grades in musicianship, tone production, etc. Thus we had a general map of the subject which was submitted to the committee, not for adoption as a whole, but as a basis for deliber- tion. One of the members endorsed the plan in the shape it was pre- sented, so far as he had found time to think it over. The other wrote that the courss usually adopted by himself in conducting vocal study differed in some material respects from the one submitted, and he after- ward i^ave partial details of a graded course which clearly outlined the best European and especially the Italian customs in vocal education. The discrepancy thus arising was probably however not so great as would at first appear. But as there was no more time for correspondence SECRETARY S REPORT. 209 we have not been able as yet to come any nearer together, and the fore- going is submitted to the Association to show that a beginning at last has been made. As good singing has certain marked and invariable characteristics, the methods which produce good singers, however different they may seem at a superficial glance, must all be founded upon certain fundamental principles, and these principles can doubtless be found and stated if investigation is pushed far enough. Frederic W. Root. Geo. L. Osgood. Wm. L. Tomlins. REPORT ON MUSIC IN PUBLIC SCHOOLS. We assume that a course in music for the Public Schools means: (a) proper instruction and training in voice culture, or teaching the right use of the voice; (b) proper instruction and training in singing; and (c) proper instruction and training in writing music from hearing, and in right singing. We recognize that in each division of this subject there are real objects or things which are to be taught and learned, and certain things which the pupils are to learn to do. We further realize that it is the pupil's intelligent and persistent effort, following upon his desire and his will or purpose to know and to do, that will enable him to accomplish the same. We recognize further that there is a natural unfolding of each division of the subject, and a right and natural way to practice. Hence our system is to seek these natural lines, to teach the real things ; to point out the right practice; and beginning with the things suited to the youngest pupils, lead on gradually as the age and ability of the pupils increase, through each successive step, until the children who complete the Common School course may have a well-classified knowledge of the subject of vocal music in its several divisions; and may universally be able to write any ordinary music from hearing it; may have musical thoughts of their own; may understand and be able to express well the musical thoughts of others; may sing all ordinary music at sight, and thus be fitted to participate in all of the common uses of music in the home and in society. It requires much thought, discussion and labor to formulate and prepare a course of study alone: these lines which shall meet your wish, which shall appeal to the judgment and good sense of educators gener- ally, and which may be accepted by all as a proper development of the subject to which the Music Teachers' National Association can give its unqualified approval. We beg the continuance of our present committee, and plenty of time to fully complete the course. N. Coe Stewart. W. F. Heath. Chas. W. Landon. 210 MUSIC teachers' national association. REPORT OF COMMITTEE ON MUSIC IN PUBLIC SCHOOL STATISTICS. Your Committee, having canvassed the matter for which it was appointed, beg to report in consonance with the spirit which prompted its appointment, viz: to know the exact status of musical instruction in the public schools of the United States, that, in co-operation with the National Educational Association, it might institute such action as could be carried to a successful issue in advancing the true interests of music education — First. There was no appropriation of money to defray the necessary expense of a thorough canvass, and our hands were tied. Second. The rapid change which is manifestly taking place in senti- ment respecting State Associations, augurs the speedy organization of State Associations in all States of the Union, when, through the county Vice-Presidents, the statistical matter can be more readily and more accurately gathered, and the influence arising, both from the inference of the statistical collecting and the dispensing of the information, will be more salutary. TMrd. These things being considered, we venture to suggest: (a) The continuance of your committee; (b) the appropriation of a sum of money adequate to collect the information. Fourth. A report of progress in the Association meeting of 1892, and a final report in 1894. As this seems to us the wisest course, we most respectfully submit the same. N. Coe Stewart. B. Jepson. PIANO-FORTE MUSIC REPORT. The Committbe on Piano Forte Music reports: That progress has been made in getting together material, and that by the next meeting a complete report can be presented. The time has been short, and the committee has been unable to meet. In the absence of Dr. Mason and Mr. Matthews, Mr. Foote is the only member present. TERMINOLOGY REPORT. The Committee on Terminology Reports: That it has been impossible to have a meeting of all the members together, and that no proper organization has been made, by electing a chairman for instance. But that Mr. Pratt, of Hartford, Conn., has ac- cumulated considerable material and that progress has been made. The members present here are Foote, Langdon, Macdougall and Root. secretary's report. 311 Moved by Mr. Stewart and seconded by Mr. Leckner. Resolved. That a standing committee upon Constitution, organiza- tion, and all matters effecting the practical workings of this Association be appointed by the President, with the approval of the Executive Com- mittee, to consist of nine members, three to serve for three years; three for two years, and three for one year; all vacancies thereafter arising by the expiration of the term of office to be filled by appointments for three years. It shall be the duty of this Committee to recommend to the Associa- tion such new amendments and reforms calculated in their opinion, to promote the work of the Association, and to receive and report under instruction of the Association upon all suggestions (made in essays, or through any proper channel,) bearing either upon the Constitution, By- laws, or working rules of the Association. COREESPONDENCE. Vienna, Austria, June 9, 1890. Mr. H. S. Perkins, Secretary of the M. T. N. A., Chicago, 111. My Dear Sir: Accompanying please find an open letter to the members of. the M. T. N. A., which I beg of you to please read before the ladies and gentlemen at the business session. Unfortunately, it is not my happy lot to be able to assist at the coming convention, much to my regrfet, I assure you, but since it cannot be, I must needs resort to this rather clumsy and unwieldy means of putting my ideas, contained in the letter, I am sure, however, that you and your coUeages of the Board will in the main be in sympathy with the proposed measures, particularly, if you remember, that you have three long years to accomplish the by no means difficult task. It might be well to drop all meetings for the time being, for the sole purpose of concentrating all our forces in the World's Fair schemes. And what glorious achievements would be the result ! They would not only surprise the visitors of foreign lands, who as yet know little, if anything, of American music and musicians, they would also open the eyes our American countrymen, who, as a class, know just as little of the matter, as you may be well aware. Need I add that the glorious results would redound to the glory of the M. T. N. A. ; It would place the society on a level with the "Society for the Promotion of Science," while to-day, it is hardly known beyond the pale of its own membership. In order to place the matter before the members, previous to the business session, so that they may have ample time to consider the matter deliberately, I took the liberty to ask the Mail Oarrier of New York to reprint same in the Festival Edition . Hoping this to be all right I am, Yours Very Sincerely, F. X. Arens. ♦ Mr. President, Ladies and Gentlemen: As the proposed plan of biennial meetings is very likely to be accepted at the present business meeting, I would beg leave to make a 212 MUSIC teachers' national association. proposition in connection therewith, to wit: Let the M. T. N. A meet at some Eastern City next year, say at Buffalo, I^. Y., and then after a lapse of two years, at Chicago, 111. My reasons for this proposition are as follows: 1st. Three years hence, the World's Fair will be held in Chicago, everybody will rush thither. As a result, any meeting in any other place, whether State or National, will prove a failure for lack of interest and attendance. 2d. Albeit Chicago has had the honor but two years ago, the M. T. !N". A. must nevertheless meet there again in 93, in order to adequately and worthily represent the progress of America in the realm of Musical Art. This is due to the Association, and I wish to emphasize the word — it is also its duty. I have good reasons to fear that otherwise Chicago will make exten- sive preparations for adequate exhibits of American Sculpture, Paint- ings, etc., but that American Music will be accorded a Cinderella-like treatment; nor could we afterwards make Chicago responsible for this, for the simple reason that American painters, sculptors, architects, etc. have come to be recognized, whilst as yet very few are aware of the wonderful progress of matters musical in the United States, the annual meetings of State and National Associations notwithstanding. By way of illustration allow me to mention, that last October the Chicago papers agitated the plan of giving Verdi the commission to write an opera, "Columbus " for the Chicago World's Fair, which plan, if consummated, would undoubt- edly result in a worthy counterpart of Wagner's $5,000 Centennial March of Philadelphia World's Fair fame, or rather, notoriety. As to the ways and methods to be employed for a worthy "exhibition" of Musical Art of the United States at the coming Chicago Fair, I would submit a few pertinent suggestions: (a.) Let a Committee of Chicago Musicians be appointed, whose duty shall consist in conferring with the proper authorities for the pur- pose of securing suitable halls and the necessary funds for carrying out the plans enumerated below. (b.) These preliminaries being attended to, let the Chicago Auditorium be reserved for a first- class opera company whose office it shall be to give us worthy representations of classical and modern operas in the vernacular. The advisability of such a proceeding is beyond all doubt, for everybody is clamoring for grand opera in English, and as to the practicability and feasibility of the proposed plan I only need to remind you of the comparative great artistic results of Mrs. Thur- ber's poorly managed American Opera Company, premature as the project then certainly was in many repeets. As it is, such great American singers as Miss Sybil Sanderson, Miss Fames, Miss de- Lussan, Miss Russell and a host of others are delighting the fastidious European audiences with their fine talent, while Americans pay fabulous prices to hear Italian or German opera, neither of which they understand. The immediate result of the consumnation secretary's report. 213 of this project would be that the Metropolian Opera Company of New York would fall in line, which in turn would bury all operatic performances in foreign tongues forever and ever, amen. Indeed, a worthy object for the Music Teachers' National Association to attain, and well worth the most arduous work of three years! The time certainly is most opportune, and if a change is not effected now, i. e.^in connection with the World's Fair, we may never get rid of the present sad state of affairs operatic, (c.) Let the Music Teachers' National Association invite the orchestras of the whole world to give special concerts, the program of which to consist chiefly of works b.y the composers of the respective countries, also invite the military bands of the world to a Grand Competitive Tournament. (d.) Let the Music Teachers' National Association invite each State Association to give a grand concert with home talent exclusively, at each of the concerts let the programs contain at least one composi- tion for chorus and orchestra by a resident of the respective Estate, and as many minor works of its composers as expedient. (e.) On Fourth of July, '93, let a Grand Public School Concert be given, in open-air, the program of which to consist exclusively^ of National and Patriotic airs. Let each state be invited to send a delegation of its best school choruses to this concert. The number of participants being limited to 5,000. Thus far I have mentioned some measures which would affect the whole physiognomy of the World's Fair as such in a most pronounced manner, but which eventually would demand the imitative and moral influence of the Music Teachers' National Association only. I have one more plan, however, which, if carried out, will be the character- istic feature of the proposed convention in '93. (f.) Let the Music Teachers' National Association offer a prize for the best Cantata treating the historical development of the United States from the discovery of America by Columbus down to the present day, with special reference to the Liberty Wars, the Declaration of Independence, the Abolition of Slavery, and lastly, the freedom and prosperity which fugitives from all parts of the globe are enjoying under the protecting folds of the Stars and Stripes. Every episode could be appropriately and beauti- fully illustrated by a tableau, as for instance: the landing of Columbus, the landing of the Puritans, the English surrender at Yorktown, the signing of the Declaration of Independence, Lincoln, surrounded by his generals and secretaries, taking the shackles off the enslaved negro, and lastly, Columbia, with tyranny and anarchy prostrate at her feet, stretching her protecting arms over her children, native and adopted, who in turn would sing in exstatic accents Hail Columbia, in which the whole audience could join. Let this best Cantata be set to music by such composers only who are citizens of the United States, the best setting to be selected according to the usages 214 MUSIC teachers' national association. hitherto adopted by the Music Teachers' National Association. Let this Cantata (which is to fill one-half of an evening's program) be performed at each of the Grand Choral and Orchestral Concerts during the convention, (and as many times thereafter as it may prove an attracting power), let a chorus of 1000-2000 voices be gathered from out the best singing societies of the whole country, which, as you may readily see, would insure a performance of this proposed work, such as never would have had its equal. From a musical' point of view, this Cantata could contain extremely interesting features, such as a World' s-Fair Triumphal March Spanish melodies in connection with the Columbus episode, Creole and Negro airs, national and patriotic songs, besides characteristic elements of German, Scotch and Scandinavian music as suggestive of the bands of hardy emigrants from those countries. I need not add that every one of the concerts proposed above, would command the widest attention of the visitors to the Fair, and that besides enhancing the grandeur thereof to no mean extent, they would prove extremely beneficial to the World's- Fair Fund. Trusting that these suggestions may prove of sufficient interest to command the earnest attention of your worthy body, and that thereby American Music may find a worthy representation in Chicago through the iniative of the National Music Teachers' Association. I subscribe With fraternal greeting, F. X. Arens. INTERNATIONAL CORRESPONDENCE. General Secretary's Office of The National Society of Professional Musicians, Derby, England, June 17, 1890. Dear Mr. Perkins, Secretary Music Ttachers' National Association: I duly received your kind letter, and purposely delayed writing to you, so that you might receive a message from me on the eve of your great meeting at Detroit, which message I will beg you to deliver on my behalf to all the friends who were so kind to me at Philadelphia last year. Will you kindly give my warmest regards and kind remembrances to them all, and tell them that I shall always cherish the recollection of my visit to Philadelphia, and of the kindness and hospitality with which I was welcomed by the members of your Association. Nothing will give me greater pleasure than to have an opportunity of meeting some of you here, and of renewing in England the friendships formed in America. I wish you all a " good time," and a triumphant success at Detroit. Believe me, my Dear Mr. Perkins, Yours, sincerely, Edward Chadfield. CONSTITUTION AND BY-LAWS. CONSTITUTION. ARTICLE I. NAME. This organization shall be known as the Music Teachers' National Association, the American Society for the Promotion of Musical Art. ARTICLE II. OBJECT. Promotion of the true culture of music by interchange of ideas, , advancement of the interests of the musical profession, and the further- ance of professional fraternity among music teachers and musicians. , ARTICLE III. OFFICERS. The officers of the Association shall consist of a President, a Vice- President for each State, Territory and Canadian Province represented; a Secretary, a Treasurer, an Auditing Committee, a Program Committee, an Executive Committee, and a Board of Examiners of American Com- positions. ARTICLE IV. MEMBERS. Section 1. The membership of the Association shall consist of Act ive. Life, Patrons and Associate members. A. ACTIVE MEMBERS. Section 1. Active members shall consist of professional musicians and musical journalists. Sec. 2. The Active membership fee of two dollars shall be paid every year by all Active members of the Association, and every person failing to pay dues annually forfeits his or her membership, and is sub- ject to the provisions applicable to new Active members. New Active members shall pay in addition to the annual dues a registration fee of one dollar. 216 MUSIC TEACHEES' NATIONAL ASSOCIATION. Sec. 3. Active members have all the privileges of the Association • including lectures, recitals, concerts, participation in debates and the right to vote , B. LIFE MEMBERS. Section 1. Any musician or music journalist may become a Life member subject to the approval of the Executive Committee, on payment of |25 in advance. Sec. 3. A suitable certificate, signed by the President and Secretary* shall be issued to Life members. Sec. 3. The Life membership fees shall constitute a permanent fund, to be loaned by the Treasurer on security approved by the Execu- tive Committee. The interest only shall be used for the annual expenses of the Association. C. PATKONS. Any person may become a Patron of the Association and have his or her name recorded among the list of "Patrons" in the records of the year, by paying a complimentary subscription of at least $10, which sum • shall be reckoned and appropriated as part of the current receipts of that year. D. ASSOCIATE MEMBERS. Section 1. Associate members shall consist ®f all other reputable persons wishing to sustain the cause of music and to encourage the objects of the Association. Sec. 2. The fee for Associate membership, special Patrons, admis- sions to single sessions and concerts, shall be left to the discretion of the Executive Committee. DUTIES OF OFFICERS. ARTICLE V. DUTIES OF THE PRESIDENT. Section 1. It shall be the duty of the President to guard the inter- ests of the Association in all its departments, to examine and remedy as far as possible all complaints against oflacers; to decide all controversies within and between committees, as well as between individual officers; to cast the deciding vote in case of a tie in the joint vote of Program and Executive Committee; to preside at all meetings of the Association and direct its general business according to Roberts' Manual of Parliamentary Law, and to appoint committees not otherwise provided for. Vice-Presi- dents shall be appointed by the President, with the approval of the CONSTITUTION. 217 Executive Committee, to serve for the term of one year, subject to removal for cause by unanimous vote of the Executive Committee. It shall be his special duty to advise Vice-Presidents in the discharge of their duties; to preserve the pleasant relations between the M. T. N. A. and State Associations, and to endeavor to maintain and in- crease the numerical strength of the membership in the different States. In the event of a vacancy occuring in the Program or Executive Committees it shall be the duty of the President, acting with such com- mittee, to fill such vacancy. ARTICLE VI. DUTIES OF THE SECRETARY. Section 1. It shall be the duty of the Secretary to perform the usual duties of a Corresponding and Recording Secretary, to collect the annual dues and deliver them over to the Treasurer, together with the name and address of those having paid, taking the receipt of said Treasurer there- for; to collect all the essays read at the annual meeting; to issue and mail reports and circulars; to preserve copies of all important letters, and keep on file all letters received. The Secretary's books shall be so kept that bills and vouchers may be arranged and preserved. He shall be obliged to settle up the affairs of the Association as early as January 1 following the meeting of the Association (if the same occurs in the summer), to hand over to his successor all property scheduled, and shall make an annual report. Sec. 2. In matters relating to the Board of Examiners the Secretary shall retain the envelopes of competitors, and after all the markings of the Board of Examiners are received, shall immediately compute the averages, send to the alternate those compositions of any one class between which there is a tie and those which have only two markings. Upon the receipt of such compositions with their markings from the alternate, he shall compute the average on these and immediately send to the Chairman of the Program Committee a list of all the compositions which average seven or more, with the computed average, the time required for performance, and the fictitious name and motto of each. Upon receiving the selected list from the Chairman of the Program Committee, he shall open the envelopes of successful competitors, inform such competitors of the acceptance of their works, and send all the successful compositions with the composers name and address, to the Chairman of the Program Committee. He shall return all unsuccess- ful compositions with the corresponding envelopes unopened to the return address given on the envelope; and with all compositions that have an average of seven or more, shall send the computed average. Sec. 3. The Secretary shall *be the custodian of all property belong- ing to the Association, and shall file an acceptable bond within thirty days after his election, the amount to be fixed by the Executive Com- mittee. 218 MUSIC teachers' national association. Sec. 4. That the Secretary shall publish in connection with the Official Report, the Constitution and By-laws, and, also, the substance of all resolutions and measures whensoever adopted, which have been made the permanent rule for the work of the Association. He shall also send a copy of the official report to the chief public libraries of the largest principle cities of the United States. ARTICLE VII. duties of the treasurer. Section 1. The Treasurer shall receive all moneys from the Secretary, giving his receipt for the same, and disbursing only upon orders properly signed by the Executive Committee. The Treasurer shall pay drafts given by the President or Secretary for curient expenses of their respec- tive offices only, each draft to contain reference to a corresponding Toucher, showing the nature of the transaction covered by it. Aside from these, he shall disburse only upon the presentation of drafts from the Executive Committee, as hereinafter provided. He shall so keep his books that bills and vouchers may be arranged and preserved, and shall prepare a report for the fiscal year, and shall have the same printed in the official report. He shall settle up the affairs of the Association as early as January 1, following the last meeting of the Association (if the same occurs in the summer), and shall hand over to his successor all property scheduled, including books, bills, vouchers and money for the current year, which he may have in his possession. Sec. 2. The Treasurer shall file an acceptable bond within thirty days after his election. The amount to be fixed by the Executive Committee. ARTICLE VIII. duties of the auditing committee. Section 1. It shall be the duty of the Auditing Committee as soon aft«r their election as the books have been closed, to carefully examine the accounts of the Treasurer, Secretary and Executive Committee of the previous year, comparing books and accounts with the vouchers rep- resenting the various transactions to whatever extent may be necessary, to make sure that the financial affairs of the Association are properly managed. ARTICLE IX. DUTIES OF THE PROGRAM COMMITTEE. Section 1. The Program Committee shall consist of three members elected by the Association. It shall be their duty to invite essayists, suggest topics, arrange recitals, and have entire charge of the pro- gram for the annual meeting. Sec 2. The Program Committee shall have a joint vote with the Executive Committee on all appropriations of money made to carry ou* CONSTITUTION. 219 the plans of the Program Committee. The President of the Associa- tion shall be an advisory member of this committee, but without power to vote, except in the case of a tie in the joint votes, when he shall cast the deciding vote. Sec. 3. A. The Program Committee shall, through an authorized medium, announce, before October 1, what American works will be required, of what classes, and how many of each class. B. The Pro- gram Committee, upon receiving from the Secretary the list of eligible works with their markings, shall decide upon the compositions, to be per- formed in the following manner: Those of each class having the highest averages shall be selected for performance, except that not more than two compositions (and these only of different classes) shall be selected, bearing the same name and motto, and no composer shall be represented twice to the exclusion of another who has an eligible composition. C. If in any year a class has no eligible work, the Program Committee may select a composition of another class that is eligible, or one of the same class that has been successful through competition in a previous year, according as the interests of the program require; in no other case shall a composition once successful through competition be repeated, and the Program Committee shall make up the programs from the compositions thus accepted by the Board of Examiners, supplementing them as they may deem advisable from selections from other sources. D. The Chairman of the Program Committee shall send the list of compositions selected to the Secretary before the first of February. ARTICLE X. DUTIES OF THE EXECUTIVE COMMITTEE. Section 1. The Executive Committee shall consist of three mem- bers elected by the Association, with the President as advisory member, but without power to vote. The committee shall take entire charge of all the business interests relating to the annual meetings and the musical performances in connection therewith. They shall carefully estimate the amount of money needed for properly carrying out the plans of the Program Committee, and if the current receipts are not likely to be suf- ficient, they shall adopt any means available for making up the defi- ciency. They shall make contracts with artists, performers and musi- cians, with the consent of the Program Committee, approve the appoint- ment of local assistants, provide all necessary halls and rooms for con- certs and meetings, and administer the business from the beginning to- the end according to their best judgment of the needs and interests of the Association. They shall keep strict account of all disbursements, preserve vouchers, and make a summarized report of the expenses attend- ing the meeting. All expenses ordered by them shall be paid by means of checks upon the Treasurer, each check containing the number of the voucher showing the purpose of the expenditure, and each check shall 220 MUSIC teachers' national association. be signed by the Chairman and countersigned by the Secretary of the committee. Their books shall be fully closed as early as the first of Sep- tember following the annual meeting, but their responsibility shall not be terminated until their accounts and vouchers have been duly passed upon and approved by the Auditing Committee. ARTICLE XI. DUTIES OF THE BOARD OF EXAMINERS. Section 1. The'Board of Examiners shall consist of three competent musicians, with a fourth to act as an alternate member of the M. T. N. A., whose duty it shall be to examine all American compositions to be performed before this organization; all the members of the Board to be voted for on one ballot, and the election of the Board, as well as their relative positions, to be decided by a plurality of votes. Sec 2. Each member of the Board of Examiners shall independ- ently mark all compositions according to absolute merit on a scale of ten, except as provided for in Section 4 of this Article. Sec 3. The Chairman of the Board, upon the receipt of a composi- tion conforming to the provisions of Section 12 of the By-Laws, shall examine it as soon as possible and send it to the second member of the Board, the second member in like manner to the third, and the third to the Secretary of the Association. The Chairman, second and third mem- bers shall respectively retain no composition longer than the first, second and third weeks of March, and upon the completion of their examination shall send their markings to the Secretary. Sec 4. No member of the Board shall mark his own compositions, but they shall be referred to the alternate, who, upon the receipt of such composition from the Secretary, as well as those of any one class between which there is a tie, shall examine and return them to the Secretary with his markings as soon as possible. ARTICLE XII. duties of yice-presidents. Section 1. To preside when called upon by the President, or in the absence of said official; the Vice-President of the State in which the meeting is held shall have precedence. Sec. 2. To secure by personal correspondence and invitation the attendance of representative musicians of his State to the annual meeting of the M. T. N. A., to secure members and remit the dues to the Sec- retary. Sec. 3. To organize, or at least earnestly endeavor to organize, a State Association, if his State is without one, in which case he may call upon the members of the M. T. N. A. that reside in his State for assist- ance. CONSTITUTION. 221 Sec. 4. To see that the constitution of the State Association shall be in harmony with the constitution of the M. T. N. A. in all matters which relate to the establishment of an organic union. Sec 5. To see that the national meeting be advertised annually in the State report. Sec. 6. To present at the opening session of the annual meeting a report in writing. A failure to do so shall render him ineligible for re- election. At this opening session shall also be decided where and when the Vice Presidents shall meet as a board or committee during the annual meeting of the M. T. N. A. Sec. 7. Any Vice-President, unable to attend the annual meeting, shall suggest to the President a duly accredited member of the National Association residing in his State, to act as substitute. In case any Vice- President fails to suggest a substitute, the President shall exercise his powers to appoint. Sec. 8. The Board of Vice-Presidents shall meet on the first day of each annual meeting of the M. T. N. A., and organize for the transac- tion of such business as may come before them, by the appointment of a chairman and secretary, who shall hold their respective offices during the session of the M. T. N. A. The Secretary shall present a written report of the transactions of the Board of Vice-Presidents, according to the provisions elsewhere made, and shall furnish to the Secretary of the M. T. N. A. a copy for publication in the annual report. ARTICLE XIII. NOMINATIONS. Section 1. The Board of Vice-Presidents shall constitute a commit- tee for the nomination of officers, Vice-Presidents excepted, at the annual meeting of the M. T. N. A., and in special committee, inclusive of one that shall consider the recommendations contained in the annual- addresses of the President, Secretary and other officials, and shall sug- gest a place for holding the next annual meeting. Sec. 2. At the business sessions of the Vice-Presidents, of which sessions at least four hours' notice shall be given on the bulletin board, the Vice-Presidents present shall constitute a quorum. Sec. 3. The Board of Vice Presidents shall have the right by a two- thirds vote to exclude any or all other persons from their business sessions. Sec 4. Vice-Presidents for States having no associations shall be selected as follows: The President-elect of the M. T. N. A. shall, subse- quent to the annual meeting, ascertain by correspondence or otherwise, what residents of each State, members of the M. T. N. A„ are best quali- fied for said position. The President shall, if possible, submit the names of two candidates for each position to the Executive Committee, a major- ity vote of said committee being sufficient for elecion. 223 MUSIC teachers' national association. Sec. 5. Nominations of all officers to be selected by the Association shall be announced sixteen hours before the election of officers and exhib- ited upon a bulletin board in the vestibule of place of meeting. ARTICLE XIV. elections. Section 1. The election of officers shall be annually, and by ballot or by such other method as the Association may direct at the annual meet- ing. The officers so elected shall hold their office until their successors are elected and have qualified. The officers elect shall, after their quali- fication, immediatel}'- assume control of the business affairs of the Asso- ciation pertaining to the next annual meeting. The retiring officers shall complete all business pertaining to their term of office, and make a full report to the officers elect. ARTICLE XV. vacancies. Section 1. In case of a vacancy in the office of President, the Exec- utive Oommittee shall fill the vacancy. Sec 2. In case of a vacancy in any office other than that of the President, the President shall nominate two candidates, and the Execu- tive Committee shall select one to fill the vacancy, except as provided for in the last part of Article V. ARTICLE XVI. The constitution may be amended by a two-thirds vote of the mem- bers present at any regular meeting. Notice of such intended amend- ment shall be given in writing; and shall be posted on the bulletin board at least twenty-four hours previous to the annual business meeting. BY-LAWS. 1. The list of patrons, life and active members, shall be published separately, according to States, in the annual report. 2. The annual dues shall be $3, payajjle at or before the annual meeting for the ensuing year. 3. Active members shall receive an annual report gratis. A number of reports shall be distributed gratis to prominent musicians through the Vice-Presidents. The number of reports shall be fixed by the Secretary in proportion to the membership and musical importance of each State. In their annual report, the Vice-Presidents shall report the names of those musicians to whom the annual report of the Association have been sent. BY-LAWS. 233 4. The Secretary and Treasurer shall each file a bond, the amount of which shall be fixed annually by the Executive Committee, previous to the election of said Secretary and Treasurer. 5. No oflBcers, the Secretary and Treasurer excepted, shall hold the same office longer than two consecutive years, except by special recom- mendation of the Committee on Nominations. 6. The same person shall not be selected as essayists or recitalists for two consecutive annual meetings, except by unanimous vote of the Program Committee and the approval of the President. 7. The pianos used during the annual meeting must conform to French pitch, said pitch being A-435, or stand excluded from the meet- ings of the Association. 8. The Chairman of the Program Committee shall appoint annually a librarian to take charge of all manuscripts and scores of compositions to be rehearsed and performed during the annual meeting, and said librarian shall be paid for so doing, a sum appproved by the Executive Committee. 9. No piano shall be advertised on the cover or outside pages of the general program. The exclusive right shall not be given to advertise any piano, or other musical instrument or publication, to the exclusion of other pianos, instruments or publications, in or on any official report, cir- cular or program published by or authorized to be published by the Association. No additional sign or name shall be placed on any piano, or any other instrument, used for any recital or concert within the rooms used by the Association at the annual meetings, but a list of all the pianos or instruments to be used at the recitals and concerts, to- gether with the names of the artists who are to use said instruments, may be printed in small letters at the bottom of each recital or concert program. 10. No official shall, unless authorized by the constitution, contract debts save with the consent of the executive committee. 11. An adequate, but limited sum of money fixed by the Executive Committee, upon the recommendation of the President, maybe expended by Vice-Presidents in the discharge of their duties. 12. A. American composers who desire to compete for the honor of having their compositions performed before the Association, shall send their compositions to the chairman of the Board of Examiners, and at the same time a sealed envelope to the Secretary bearing a fictitious name and motto and return address, and containing the composers real name. Compositions may be sent at any time, but must be in the hands of the chairman of the board before Feb. 15. B. Competitors shall prepare their compositions for examinations as follows: The composers name, and in the case of a published work, also the publisher's name, and all marks or advertisements of publishers cut out, or made illegible. Each composition shall bear the time required for performance, and a fictitious name and motto, corresponding to the fictitious name and motto on the sealed envelope sent to the Secretary. C. If any 224 MUSIC TEACHEKS' NATIONAL ASSOCIATION. competitor shall in any way intentionally disclose his identity to any member of the Board of Examiners, he shall 'have no representation that year. D. Competitors can compete in all classes called for, but must use the same fictitious name and motto in all classes. E. Com- petition shall be open to all resident musicians who are members of the Music Teachers' National Association. 13. No person, whether a member of the Association or not, shall be allowed to advertise in any manner within the rooms used by the Associa- tion any publication, composition, or invention of any sort, whether by free distribution, circulars or orally. 14. The Executive Committee shall provide a suitable room or place for the exhibition of inventions and devices intended for the benefit of the music teaching profession, each exhibitor to pay such a sum for the required space as may be fixed by the Executive Committee. In this room may also be exhibited, with the permission of the chairman of the Executive Committee, free of charge, musical journals, and especially compositions and music books published during the three years preceding the annual meeting and emanating from composers and authors who are members of the Music Teachers' National Association. 15. No teacher shall introduce his or her pupils to play or sing before the Association unless by unanimous invitation of the Program Committee. 16. The time for reading a paper shall be limited to thirty minutes, and each participant in the discussion shall be allowed to speak for five minutes, with the privilege of again taking the floor for no longer than five minutes, unless ordered by a unanimous vote of the members present. 17. General discussion shall be limited as regards time, by the vote of the Association. 18. The annual meetings shall be held on the first Tuesday, Wednes- day, Thursday and Friday of July, or such other time as the Executive Committee may designate. 19. The constitution and by-laws shall be printed in each annual report, and the prospectus and program of the annual meeting shall be mailed at least one month previous to the annual meeting. 20. The Association shall not meet two consecutive years in the same place. 21. Fifty-one active members shall constitute a quorum. 22. The by-laws may be suspended or amended at any regular meet- ing by a majority vote of active members present. PROGRAM. Closing Concerts, Friday, July 4. 2.00 p. M.— Detroit Rink. ORCHESTRAL MATINEE. miscellaneous compositions. Theodore Thomas, - - - Conductor. Pianist— Constantin Sternberg, - Atlanta,' Ga. Vocalist— Miss Anne Carpenter, - - New York. PROGRAM, 1. Fugue in A minor, . . . . Bach. Adapted for String Orcliestra by Josef Helmesbekger. 2. Symphony No. 5— C minor, Op. 67, - Beethoven. Allegro con brio. Andante con moto. Allegro— Finale. 3. Concerto in A minor, Op. 54, - - Schumann. Allegro afEettuoso. Intermezzo (Andantino grazioso). Finale— Allegro vivace. Mr. Sternberg. INTERMISSION. 4. Concert Overture — Melusine, - Mendelssohn. 5. Aria — "1st es denn Wahr?" - - EuUnstein. Miss Carpenter. 6. Symphonic Variations — Op. 78, - - Dvorak. 7. Overture — "Tannhauser," - - Wagner. (Knabe Piano used). 8.00 P. M. ORCHESTRAL AND CHORAL CONCERT. AMERICAN COMPOSITIONS.— [The Concerto Excepted.) Theodore Thomas, . . . . Director. Pianist— Mme. Fannie Bloompield Zbisler, Chicago, 111. Vr^/^ATTooia J Miss Jean Forsyth, - - Detroit, Micb. V ocalists -j Jules Jordan, - - Providence, R. I. PROGRAM. 1. Auditorium Festival Ode — for Tenor Chorus and Orchestra, - - Frederic Grant Oleason. Soloist: Mr. Jordan. 2. Concerto in F minor, - - - Ghopin. Maestoso. Largbetto. Allegro Vivace. Mme. Zeisler. 3. Lovely Rosabelle— Ballad for Soprano, Tenor, Chorus and Orchestra. Poem by Sir Walter Scott, - - - G. W. Ghadwick. Soloists: Miss Forsyth, Mr. Jordan. 4. Concert Overture in C major. Op. 3, Arthur Whiting. 5. Reverie Pastorale — for Flute, Oboe, Two Horns and String Instruments, - - Garl Busch. Aubade Candante.) Pres dn ruisseau (conmoto.) Un soir d' ete dans la foret (adagio). Danse ronde (vivace) . 6. Symphonic Scherzo, - - - J. H. Beck. 7. American National Air, - "Star Spangled Banner." For Solo, Chorus and Orchestra. (Steinway Piano used). STANDING COMMITTEES, CHURCH MUSIC. 1889-1891 B. M. Bowman Newark, N. J. 8. P. Warren New York Citj 8. B.Whitney Boston, Mass. 1889- 1892 P.B.Rice Oberlin, O. H. B. Roney Chicago, 111. Sumner Salter New York City 1890- 1893 S. N. Penfleld New York City Waldo S. Pratt Hartford, Conn. A. A. Stanley Ann Arbor, Mich. TERMINOLOGY. 1889-1891 W. S. B. Mathews Chicago, 111. Frederic W. Root Chicago, 111. C. B. Cady Chicago, 111. 1889- 1893 Waldo S. Pratt Hartford, Conn. Chas. W. Landon Claverack, N. Y. H. C. MacDougall Providence, R, I, 1890- 1898 Arthur Foote Boston, Mass J. C. Fillmore Milwaukee, Wis. Frederic H. Pease Ypsilanti, Mich. NA TIONAL METHOD OF MUSICAL INSTRUCTION HARMONY SECTION. 1889-1891 E. M. Bowman Newark. N. J. 1889- 1892 J.C.Fillmore Milwaukee, Wis. 1890- 1898 Hugh A. Clarke Philadelphia, Pa. VOCAL SECTION. 1890-1891 George L. Osgood Boston, Mass. 1889- 1892 Frederic W. Root Chicago, 111. 1890- 1893 Emilio Agramonte New York. PUBLIC SCHOOL MUSIC SECTION. 1889-1891 W. F . Heath Oshkosh, Wli. 1889- 1892 Chas. W. Landon Claverack, N. Y. 1890- 1893 N. Coe Stewart Cleveland, O. PIANO-FORTE SECTION. 1889-1891 W.S.B Mathews Chicago, III. 1889- 1892 Arthur Foote Boston, Mass. 1890- 1893 Emil Liebling Chicago, 111. ORGAN SECTION. 18^9-1891 N . H . Allen Hartford, Conn . 1889- 1892 S . P . Warren New York City 1890- 1893 S . B . Whitney Boston, Mass . TRUSTEES OF ORCHESTRAL FUND, 1 Year —Frederic Grant Gleason Chicago, 111. 2 Years— G. Shirmer New York City. 3 Years— Max Leckner , Indianapolis, Ind . Cofnmttfee on Constitution^ By-Laws^ Organization^ Etc. {James H. Rogers 106 Euclid ave., Cleveland, O . William H. Dana Warren, O. W. F. Heath Oshkosh, Wis, ( O. E. McPadon 205 E. 17th St., Minneapolis, Minn. 2 Years. K H. B. Roney 1833 Michigan ave., Chicago, 111. ( A. K. Virgil 12 E. 17th st.. New York City. {Albert Ross Parsons Steinway Hall, New York City. N. Coe Stewart 1364 Euclid ave., Cleveland, O. William WolseifEer 1726 Atlantic st, Philadelphia, Pa. Fonnders or Charter Meibers. Bates, Wm. E., piano, organ Columbus, Ind. Bates, Mrs. Jennie E., piano, organ " Brown, J. Addison, piano, organ, voice Xenia, Ohio Cady, C. B., Oberlin Conservatory Oberlin, Ohio Case, C. C, Convention Condiictor Gustavus, Ohio Cole, G. M., public schools Richmond, Ind. Collins, S. A., public schools Sandusky, Ohio Colson, W. B. Jr., piano, organ Akron, Ohio Chad wick, Geo. W., Olivet College Olivet, Mich. Christy, J. W., voice, piano Etna, Ohio Dana, Wm. H., Dana's Institute Warren, Ohio Dane, M. N., public schools Toledo, Ohio Dunn, Wm. F., Zenia College Xenia, Ohio Davis, E. Eugene, voice, piano Prospect, Ohio Davis, J. Albert, teacher, dealer " Davis, D. T., public schools Mt. Gilead, Ohio Fftilor, Alia, piano, voice ... Bucyrus, Ohio Fillmore, Jas. H., vocal class teacher Ford, F. M., vocal music Morenci, Mich, Free, Spencer M New Freedom, Pa. Gettle, Nettie, piano, voice New London, Ohio Gilbert, Isadore, piano Columbus, Ohio Glover, N. L., public schools Akron, Ohio Herritt, Ella M., piano, organ Xenia, Ohio Housel, Geo. R., public schools Akron, Ohio Houser, J. J., voice Westerville, Ohio Humphreys, Miss G., public schools .Delaware, Ohio Hussey, Jennie, piano Toledo, Ohio Johnson, Emma L., piano, harmony Columbus, Ohio Johnson, H, H., singing ; — Havana, Ohio King, Minnie S., piano Westerville, Ohio Knox, A., Dennlson University Granville, Ohio Lorenz, E. S., author S. S. books Dayton, Ohio Luse, J. D., public schools Norwalk, Ohio Mason, Luther Whiting, public schools Boston, Mass. McGranahan, Jas., Convention Conductor Meadville, Pa. Merz, Karl, Oxford College Oxford, Ohio Miller, Imogene, piano, organ Tiffin, Ohio Moulton, Miss N. E Toledo, Ohio Myers, Miss J., piano, voice Bucyrus, Ohio Myer, Miss E. J., pianp, voice London, Ohio Nation, Anna M , voice culture Delaware, Ohio O'Kane, T. C, author S. S. books Perkins, H. S., singing and conductor Chicago, III. Philips, A. J., public schools Warren, Ohio Pontius, Wm. H., teacher, conductor Ada, Ohio Porter, Jas. A., public schools Gallon, Ohio Presser, Theo., piano, Female College Delaware, Ohio Reimer, David, voice London, Ohio Resler, Laura E., piano, organ, Lebanon Valley College Anville, Pa. Khu, August, piano, organ, voice Richmond, Ind. Rice, Fenelon B., Oberlin Conservatory of Music Oberlin, Ohio Root, Dr. Geo. F., author Chicago, 111. Short, Katie E., piano, organ, voice Canal Winchester, Ohio Shull, H. H., piano, voice Columbus, Ohio Stewart, N. Coe, public schools Cleveland, Ohio Slough, Emma, piano Delaware, Ohio SufEern, William J., Convention Conductor New York Thresher, Mrs. A. W.. voice, piano Granville, Ohio Tourjee, Eben, New England Conservatory of Music Boston, Mass. Walker, G. W Moravia, Mich. Williams, C. C, Convention Conductor Gustavus, Ohio 238 MUSIC teachers' national association. LIFE MEMBERS. No. 1 Heath, W. F., Past President, M. T. N. A., Oshkosh, Wis. 2 Perkins, H. S., Secretarj' M. T. N. A., Voice, Harmony, Director National School and College of MusJc, 26 Van Buren street, Chicago, Hi. 3 Ziegfeld, Dr. F., Piano, President Chicago Musical College, Central Music hall, Chi- cago, 111. 4 Heimendahl, W. Edward, violin and Conductor, 417 N. Charles st., Baltimore, Md. 5 Leckner, Max. Past President M. T. N. A., Piano, 282 Penii. st., Indianapolis, Ind. 6 Parsons, Albert Ross, Past President M. T, N. A., Piano, theory, sestheiics, Stein- way Hall, New York City. 7 Heritage, Richard A., Voice, Harmony, Director music school, Valparaiso, Ind. 8 Smith, May Lyle, Violin, Hudson, N. Y. 9 Foereter, Adolph M., piano, singing, theory, box 883, Pittsburg, Pa. 10 Wulsin, Clarence, piano, etc , 95 N. Pennsylvania street, Indianapolis, Ind. 11 Sherwood, Edgar A , piano^ theory, etc., 110 E. Main street, Rochester, N, Y. 12 Gleason, Frederic Grant, piano, organ, theory, composition, 84 Auditorium, Chi- cago, HI. 13 Foote, Arthur, piano, theory, composition, 2 W. Cedar street, Boston, Mass. 14 Landon, Chas. W., organ, piano, voice, composition, director conservatory of music, Claverack, N. Y. 15 Kroeger, Ernest R., piano, organ, harmony, 3315 Laclede avenue, St. Louis, Mo. 16 Church, Lily R., piano, theoiy, 1208 Ann street, Parkersburg, W. Va. 17 Hahn, J. H., President, M. T. N. A., piano, director conservatory of music, 40 W. Fort St., Detroit, Mich. 18 Dana, William H., Pasti Treasurer M. T. N. A., theory, director Dana's School of Music, Warren, O. 19 Zeckwer, Richard, piano, organ, theory, director conservatory of music, 1617 Spruce street, Philadelphia, Pa. 20 *Lavellee, Calixa, Past President M. T. N. A., piano, theory, composition, 156 Tre- mont street, Boston, Mass. 21 Berg, Edward A., piano, organ, harmony, 107 S. 3d street, Reading, Pa. 22 Rosewald, J. H., violin, soloist, director, 938 Geary street. San Francisco, Cal. 23 Gruenwald, Mrs. S. P., piano, Avenue K, bet. 24th and 25th streets, Galveston, Tex. 24 Stevens, Neally, concert pianist, 174 Wabash avenue, Chicago, 111, 25 Zeisler, Mrp. Fannio Bloomfield, concert pianist, 307 E. Chicago ave., Chicago, HI. 26 Derthick, W. M., music biographical and statistical publisher, 415 Dearborn street, Chicago, 111. 27 Stanley, Albeit A., piano, organ, theory, director, Ann Arbor, Mich. 28 How, James Hamilton, piano, theory, dean DePaugh School of Music, Green castle, Ind. 29 Chittenden, Kate S., piano, organ, theory, 128 E. 16th street. New York City. ♦Deceased. REGULAR MEMBERS. ALABAMA. Doll, C. L 308 S. Perry st,, Montgomery ARIZONA. Goldsburg, Claude, Army Band Leader Fort Apache Thomas, Ludwig, piano, organ Prescott CALIFORNIA. Arrillaga, Santiago, piano 2315 Jackson st., San Francisco Bonelli, E. S., piano.. 1358 Market St., San Francisco Rosewald, Mrs. Julia, voice 938 Geary st., San Francisco CANADA. Barillier, Victoria, piano 107 Pitt st., Windsor Bartlett, Margaret, vocal music Windsor Bice, Blanche G., piano Windsor Bluthner, W. Arthur, piano, harmony, history ..718 Waterloo st., Toronto Dick, Mrs. D. T., musician 22 Prince Arthur st., Toronto Donnelly, May, piano 578 Hesbourne st., Toronto Fader Benj. L,, violinist, conductor Hotel Arlington, Toronto Fisher, Edward, piano, director, Conservatory of Music ....14 Wilton Crescent, Toronto Fisher, Mrs. Edward, piano 14 Wilton Crescent, Toronto MEMBERS. 229 Forsyth, Jean, voice Windsor Golden, Margaret Anna, piano, organ 81 Goyean st., Windsor Guillette, Bessie B., piano 182 Onellette Ave., Windsor Harris, Mande, piano, voice, harmony 323 Jarvis St., Toronto Hodson, Mrs. J. M., music, organist Windsor Hubie, Wm. Jr., piano, organ, theory, history 350 High st., Hamilton Johnson, Mrs. C. E., muBiciau Windsor Kemp, Flo. C, violin, piano 266 Ki«g st., Chatham Martin, Thomas, Director, Music, Hellmuth, Col., 983 Dufferin ave., London McGIashan, D. L., vocalist Windsor Moore, Mrs. F, J., piano, voice, harmony, composition 374 Duudae St., London Ouellette, Alma, piano Sandwich Puddicbmte, H., piano, organ 160 Lindenham et., London Read, J. G , piano Sandwich Robertson, Lucie, piano Vidal st., Sarnla Robinson, Nellie, piano, Demill College Ashawa Rolls, Miss I., piano Chatham Sippi, G. B., piano, organ, voice, violin 362 Dundas st., London Sheppard, Mrs., musician London Thompson, Mrs. J. J., piano Chatham Tripp, J. D, A., piano 20 Seatou st., Toronto Wrong, Georgiana, vocal Windsor Wrong, Hester, piano Windsor Zollner, Anna, piano, Demill College Ashawa COLORADO. Arrington, Miss F. A., piano •. 1705 West St., Pneblo Bennett, Luella, piano, composition Broadway, Denrer Mason, Anna S., piano 1425 South 13th st., Denver Nast, Henry H., piano, theory 63 Barth Block, Denver Pfeft'erkorn, Otto, music Denver Stoddard, Lillie Lee, piano, organ , Aspen Young, Mrs. J. H., piano 1375 South 15th st., Denver CONNSCTICUT. Allen, N. H., piano, organ, singing 382 Main st., Hartford Fowler, F. A., piano, organ, voice, theory 851 Chapel st , Nevic, Yale University 209 York et.. New Hav«n Warren, H. C, piano, organ, theory 31 Reynolds st., Danielsonville Yerrington, H. L., piano, organ N. Washington st., Norwich McCormick, F. P., piano, organ, theory New London DISTRICT OF COLUMBIA. Bnllard, Otis B., voice, director, 1S25 10th st,, N. W. Con. of Music, St. Cloud, Washington FLORIDA. Parker, Mrs. Ankie G., piano !..Ocala GEORGIA. Ceurda, V., piano, violin organ. Academy for the Blind Macon Showalter, A. J., voice, organ, theory, journalist 2 O. H. Block, Dalton Yonder Hoga,E. A., violin voice 58 Bernard st.. Savannah ILLINOIS. Abbott, F. D., music journalist, 325 Dearborn st., Chicago Archer, Lucy, voice 651 Washington Bd., Chicago Armstrong, Wm. D., piano, organ 29 Commercial st., Alton Benedict, Hattie, piano 34 Monroe st., Chicago 230 MUSIC TEACHERS NATIONAL ASSOCIATION. Bentley, Wm. F., piano and orchestra 325 Monmouth Bd. Qalegburg Bliss, Mary E., piano 428 Lake st, Oak Park Bretherick, H., director, conductor of music 644 Main st., Qaincy Brown, Bernine, piano, organ, harmony 1541 Carrol ave., Chicago *Butterfield, J. A., voice, theory, composition Kimball Hall, Chicago Cady, C. B., piano, composition Auditorium, Chicago Cady, Mrs. C. B., piano 214 Cass St., Chicago Clark, Ella M., piano La Grange Covey, MisB M. E., piano, voice 299 S. Oakley ave., Chicago DeCampi, Eliodoro, singing, harmony, composition Chicktring Hall, Chicago Derthick, Mrs. W. M 417 Dearborn st, Chicago Dodge, Chas. W., piano 241 Wabash ave., Chicago Doty, Alice L., piano, organ, theory Aurora Doty, Elena R., Public School music 266 East Huron St., Chicago Eddy, Clarance, organ, piano, theory 282 Michigan ave., Chicago Eddy, Mrs. Sara Hushey, singing 23S Michigan ave., Chicago Fox, Mrs. O. L., voice 301 Ashlan l Bd., Chicago Fowler, Emma Louiae, voice 242 Wabash ave,, Chicago Goodrich, A. J., musical author 200 Wabash ave., Chicago Quillette, Nellie M., piano 4525 Oakwood ave., Chicago Hattstaedt. J. J., piano, director and conductor of music. Chickering Hall, Chicago Hall, Mrs. Mary Stilwell, piano Omaha Heinzen, Carl V., violin, conductor of music 644 Main st., Quincy Hyllested, August, piano 412 Superior st., Chicago Hyllested, Mrs. Clara, music. 412 Superior st., Chicago Koelling, Adolph, piano, theory 2342 Calumet ave., Chicago Krosser, Mrs. M. R., piano 259 E. Ohio st., Chicago Kurtz, J. H., voice, music in Public Schools 32 DeKalb st., Chicago Lewing, Adele, piano 174 Wabash ave., Chicago Liebling, Emil, piano Kimball Hall, Chicago Lovell, Will Carlton, piano Hampuhire Lovell, Lovina, voice, piano Hampshire Lovell, Leander C, violin Sycamore McAllister, D. C, voice, conductor 446 E. 45th st., Chicago McCarrell, A. F., piano, organ Evanston Mathews, W. S. B., piano, organ, critic 240 Wabash ave . , Chicago Marum, Ludwig, violin 1510 Michigan ave , Chicago Merki, Maud, piano 5005 School st, Chicago Moffatt, Lizzie M., piano Wheaton Petzet, Walter Fr., piano, composition Central Muaie Hall, Chicago Petzet, Mrs. Walter Fr., Chicago Pettengill, Alice, piano Bunker Hill Phelps, Mrs. Dora E., piano singing 31 Artisan ave., Chicago Pietsch, Herman, piano, harmony 538 Burling st , Chicago Richards, Frank R., piano, voice, harmony Amboy Rohland, Mrs. C. B., piano, theory 123 E. 2d st., Alton Root, Frederic W., singing Kimball Hall, Chicago Rothchild, Fred, piano ...58 N. Clinton st., Chicago Beifoerr, M. J., piano, theory, history 334 North Ave., Chicago Seitz, Carl H., piano, organ, harmony P. O. Box 88, Ravenswood Smedley, William, vocal, choir master 395 Superior st., Chicago Smith, Minnie M., piano, organ, harmony Maiden Smith, Heary C, piano, voice Naperville Schoenfeld, Henry, piano composition 685 N. Park ave., Chicago Watson, Mrs. L. H., piano 297 Indiana et., Chicago Weeks, Helen F,, piano Evanston Whipple, Mrs. D. B., piano 4728 Wabash ave., Chicago Wild, Harrison M., piano, organ, theory Chickering Hall, Chicago *Deceased. INDIANA. Anderson, Minnie M., piano 86 Wayne St., Fort Wayne Ball, Lizzie, instrumentalist Valparaiso Butler, Henry M., music in Public Schools 580 N, Alabama st., Indianapoli* Davenport, Florence G , voice Elkhart Dungan, J. M., piano, singing Franklin Forsyth, Clarence, piano, organ, composition, school music Indianapolia Goodale, Minnifried, instrumental music Angola Hunter, Mrs. Florence, piano, theory 122 E. Ohio st,, Indianapolis Kinsey, J. F., vocal, musical journalist La Fayette Matchette, Dora F., piano Pierceton McDowell, Emily G.. piano 6 Greenwood St., La Fayette Hewland, Robt. A., piano, organ 126 E. North st., Indianapolis Porter, Alice A., piano, Tri-State Normal School Angola MEMBERS. 281 Pauley, J. Edgar, musical journalist LaFayette Schones, Emma, LaFayette ghaff, Mrs. Lottie K., piano, voice East German town Smith, Hattie, masic in Public Schools Goshen Towers, John, singing, lecturer, school of music 416 N. Penn. St., Indianapolis Wilson, Julia E., piano, organ SSI W. Berry St., Port Wayne IOWA. Chase, Alice Bradstrtet, vocal and instrumental Iowa City David, Virgil E., piano, orchestral and band instruments Washington Deming, Miss J. R., Dubuque Hoyt, Jennie M., piano Mt. Vernon Irons, Leola, piano Mt. Vernon Kerr, Rose L Dubuque Kelsey, Georgia W., organ, piano, theory 907 Virginia St., Sioux City Kimberlv, Hattie, piano 907 Virginia St., Sioux City Klehie, Adolph Carl 1130 Iowa st., Dubuque Madison, Gertie, musician u Mt. Vernon Madison, Blanche, musician. Mt. Vernon Miller, Luella, musician Mt. Vernon Perrine, Gertrude, musician Mt. Vernon Rommel, A., piano Mt. Pleasant Ruggles J. W., piano voice, theory. Fayette KANSAS. Davidson, S., theory 406 Miami St., Leavenworth Dudley, Lillian Marie, piano and harmony Marion Gilbert N. S., piano and voice Leavenworth Hays, Mrs. David, piano and theory 704 S. Water St., Wichita Tilson, Miss V. M., piano and organ - Marion KENTUCKY. Ballard, Mrs. T. D., piano „ N. Upper St., Lexington Bach, J. Maurice, piano, organ and theory . . .Lower Main St., Henderson Bach, Mrs. J. Maurice, voice and piano Lower Main St., Henderson Caldwell, R. F., music 33 West 4th St., Covington Caldwell, Mrs. Jessie B., voice 33 West 4th St., Covington De Roode, Rudolf, Past Pres. M. T. N. A., piano, voice, 36 Rose st Lexington Dewherst, Emma C, 1125 Lloyd St., Louisville Koester, Raphael, violin and piano Lancaster Logan, Bettie C, piano and theory, Wilkin's Block, 4th Ave., Louisville Musselman, Maud, voice Cynthiana Pelcher, Mattie, piano E. Maxwell St., Lexington Walters, Lena, piano and voice Cynthiana MAINE. Best, Florence M., piano 52 Spring St.. Portland Dodd, Ida L., piano .....P. O. Box 123, Monmouth Marston, G. W., piano and organ 81 Free St., Portland Rankin, Frank L., piano Brown Block, Portland Thomas, Geo. A., vocalist 145 Danforth St., Portland MASSACHUSETTS. Allen, Ben j. D., piano, organ and composition 173 Main St., Worcester Andrews, J. Warren, piano and organ 163 Magazine st,, Cambridgeport Bailey, Sarah Goodspeed, piano, 1501 Dorchester ave., Boston Brown, O. B., piano and harmony, public schools 213 Pleasant St., Maiden Clark, Lucy E., piano, organ and harmony The Clyde, Isabella st., Boston Clark, Camile, voice 23 John st,, Worcester Chase, Mrs. Abbie S., piano — 233 Elm St., West Somerville Clemson, Walter John, organist and choir master, Taunton Poster, Annie, piano 45 Laurel st., Somerville Hammond, Benj. T., singing 452 Main st., Worcester Hammond, Wm. C, piano and organ Holyoke Healy, Miss E, L., piano Dudley 232 MUSIC teachers' national association. Howes, C. F., , 700 Harrison ave., Boston Johnston, Michael J., piano and organ 76 Suffolk st., Lowell Kelsey, Edw, Everett, piano, organ, voice and theory 11 Hamlet St., Somerville Kimball, E. N 700 Harrison st, Boston Lang, B. J., piano and organ Chickering & Sons, Boston Locke, Warren A., piano and organ 10 Putnam ave., Cambridge Lindsey, Hattie W., piano 24 Belmont ave.. Fall River MacDowell, E. A., piano, theory and composition 13 W. Cedar st., Boston Mason, Dr. L. W., music in public schools Boston Miller, Henry F., 156 Tremont St., Boston Miller, Wm. T., 156 Tremont st., Boston Morse, Prank E., voice North EastCon of Music, Boston Newman, Sarah Elliot, piano and harmony 45 W. Newton, Boston Perry, Edwin Baxter, concert pianist. 178 Tremont St., Boston O'Shea, John A , piano, organ and harmony 49 Chelsea st., East Boston Schwamb, Eliza A., piano Arlington ave., Arlington Silver, Edgar O., journalist and publisher 6 Hancock ave., Boston Thomas, Kate A., piano 10 Clay st., Lowell Vincent, Mrs. Marie T., piano, organ and harmony 175 Tremont st., Boston Warren, Augenette, piano Plainville Whitney, S. B., piano, organ and theory 125 Tremont st, Boston MAEYLAND. Loewy, Lewis, piano and theory 300 N. Green st, Baltimore. Stieff, M. G., piano and organ 108 W.Fayette St., Baltimore MICHIGAN. Abel, F. L., piano, singing and 'cello Detroit Con. of Music, Detroit Adams, Zaida M., piano Sheboygan Adams, Mrs. S. E., elocution Academy of Music, Detroit Adams, L. E., piano Academy of Music, Detroit Allen, Orlal)., organist 42 Winder st., Detroit Alexander, Fred, organist 56 Piquette ave., Detroit Allison, Marguerite, piano. 40 Baker st., Detroit Allworth, Frank A., piano Almont Anderson, Carrie, piano 156 Lincoln ave,, Detroit Andrus, Agnes, piano Detroit Con. of Music, Detroit Andrus, Alice, voice Detroit Con. of Music, Detroit Apel, Franz A., piano 28 E. High st., Detroit Apel, Lily A., piano 28 E. High St., Detroit Armour, Maggie, music St. Johns Armstrong, bessie, piano Almont Armstrong, Louise, vocal 101 E. Columbia st, Detroit Armstrong, Hattie M., vocal . ..101 E. Columbia St., Detroit Babbitt Mrs., singing Ypsilanti Babbitt, Alice, singing Ypsilanti Babbitt, Nora, singing. Ypsilanti Bacon, Clara, piano St Clair Baird, Anna Belle, vocalist Holly Ball, Mrs., F. W., piano Grand Rapids Bailey, S.Ada, piano .Reading Banwell, H. M., 737 Cass ave., Detroit Backus, Mrs. Henry, voice 35 Trumbull ave, Detroit Batchelder, J. C, piano and organ Detroit Con. of Music, Detroit Barber, Minnie, piano 52 W. Montcalm st„ Detroit Baxter, Tillie W., piano Detroit Barton, Edith, pjano : Flint Barnard, Emily, pi'ino Chestnut st, Lansing Beadle, Harry, vocalist 36 Myrtle St., Detroit Beal, Mary, piano 39 Charlotte ave. Detroit Beal, Carrie, piano 34 Charlotte ave., Detroit Beardslee, Mae, piano — Cole Beebe, Sophie, piano ...Jackson Belcher, Jennie, mu-ic in schools Saginaw Bennett Edith, piano Washmgton Bennett Mrs. Walter A., piano Jackson Benedict, E., voice 40 Sibley et, Detroit Bell, Mrs. J. M , 534 4th ave., Detroit Belknap, Will E., musician 63 E. Maumee st Adrian Bentley, Mrs. M. D., piano 697 2d ave., Detroit Berdan, O. F., violin Woodward ave,, Detroit MEMBERS. 233 Berry, H ittie, 659 E. Fortst., Detroit Betts, Jessie M., piano Burr Oak Bishop, W. W., 74 Pitcher St., Detroit Bloor, Mrs. C, piano and organ Plymouth Bingham, Mary, piano 1208 1st st., Jackson Birdsell, Mrs. B., 525 2d ave., Detroit Blindburg. Ella, voice 25 E. Alexandrine ave., Detroit Blodgett, May N., piano 56 Jefferson Terrace, Detroit Briscoe, Benjamin F., chorister 156 Lincoln ave., Detroit Brockvvay, Ella H., musical history 995 E. Porter, Albion Bromley, Lillian M.. piano 99 Prentice st., Detroit Brigham, Mary, piano 1288 1st st., Jackson Brown, Maud, vocal Grand Ledge Brown, Mrs. Freeman M., piano 44 E. Columbia st. Detroit Brownell, Kate, piano Utica Brooklns, Miss Prank, piano 45 Bennett st.. Battle Creek Bruner, Helen, 167 Brainard st., Detroit Brush, Mrs. Nellie H., voice Con. of Music, Detroit Bowlby, Helen V., music in Public Schools Battle Creek Botsford, Emma, voice 19 Sibley st., Detroit Boughton, Mrs. F. P., voice 35 Trumbull ave., Detroit Burridge, Addie, piano Capitol ave., Lansing Burrowes, Katharine, piano Detroit Con. of Music, Detroit Burrowes, Miss M. A., voice 1183 Michigan ave., Detroit Byrne, Miss Byrd, piano 206 Lansing ave., Jackson Cady, Mrs. Allie, piano 456 Putnam ave., Detroit Cady. Grin, voice Academy of Mu^ic, Detroit Caldwell, Lizzie, piano 153 Harrison ave., Detroit Campbell, Francis, voice Grand Rapids Carlette, Jessie, voice -..66 Farrar st., Detroit Carter, AnnaM., piano 944 E. Con'gress st., Detroit Carpenter, Mrs. E. R., singing Grand Rapids Carpenter, Anna, singing Grand Rapids Carly, Hugb, voice 456 Putnam ave., Detroit Carly, Mabel, piano, 585 Cass ave., Detroit Cassady, Anna, 606 Mechanic st., Jackson Chaperton, Florence E., piano Mt. Clemens Champ, Mrs. Georgia, vocal, Adelaide st., Detroit Chene, Felix, vocalist 783 Jefferson st , Detroit Cheshire, Georgia, piano Cross st., Ypsilanti Chancy, Nellie, vor-al , Ill W. Hierh st. Detroit Chase Jessie, vocal 31 Edmond Place, Detroit Chase, Melville W., piano and harmony -. . Hillsdale Christiancy, H., violin 31 Joy st., Detroit Christiancy, Ida, 31 Joy St., Detroit Clark, Mrs. Helen, vocal 739 Cass ave,, Detroit Clark, Emma E., piano 411 3d ave., Detroit Clark, Emma E., piano Wyandotte Cleveland, Ella, piano 75 W. High st., Detroit Clougb, Minnie, piano 11 E.Alexandrine ave., Detroit Champion, Claribel, voice 113 Alfred st.. Detroit Chilvers, Thomas H., piano 63 Wilcox st., Detroit Chipman, Mrs. Hfirry F., piauo 65 Clift'on st., Detroit Chipman, Harry F., vocal 65 Cliffon St., Detroit Church. Frances G., piano, harmony and theory '. Quincy Clark, Frances G., piano and organ Ecorse Clark, Mrs. Helen, vocal , 739 Cass ave., Detroit Collins, Nora, piano .. Corunna Cole, John A., 9 College st., Hillsdale Coryelle, Mrs. B. G., piano Chesaning Coolidge, Lulu S., music in public schools » 545 4th ave., Detroit Corey, Minnie E., vocal, 50 Locust st., Detroit Cole, Lula 72 Bradley st., Detroit Conover, Will C, voice 71 Winter St., Detroit Conover, Miss 71 Winter St., Detroit Colwell, Mrs. M., 103 Lagrave st,. Grand Rapids Colwell, Chas. N., piano and organ 103 Lagrave st., Grand Rapids Colwell, Mrs. C. N., ^ 103LaGr&Dge st., Grand RapidB Collier, W. W., 674 Cass ave., Detroit Callins, Mrs. Lucy, piano Elliot St., Detroit Colt, Mrs. Joseph, piano 162 E. Congress St., Detroit Conley, Kate lone, piano .= , l79 Canfield ave., Detroit Connor, Annie J., piano 343 Selden ave., Detroit Comstock, Millie, piano Owosso Cook, Mary A., vocalist 30 Bagg st., Detroit 234 MUSIC teachers' national association. Cook, Lucy R.. piano 30 Bagg st., Detroit Corlette, Jessie, voice 66 Farrar st,, Detroit Crawford, Wm., Midland Crane, Charlotte, organ 105 Farmer St., Detroit Crane, Edwin C, vocalist 78 W. Elizabeth et., Detroit Cranz, C. E., 311 N. Warren st.. East Saginaw Critzer, Wm. H., vocal 125 Brigham st., Detroit Crissman, Myrtle, piano and organ Utica Crosby, Jennie, voice 334 6th St., Detroit Croxson, Louis, piano 118 Williams St., Muskegan Currier, F. M.. voice 205 Lafayette ave., Detroit Curtis. Bertha, piano and vocal Rochester Daily, Elvie, voice, piano 43b 3d ave., Detroit Daker, Ella, 679 24th st., Detroit Davis, Mrs Geo. B., voice ...Utic* Davis, Mrs. S. G.,. 504 12th st., Detroit Davis, Sadie, piano, Academy of Music Detroit Davis, Miss, vocal Fenton Davis, Mrs. F. M., vocal 532 Cherry st.. Grand Rapids Dart, Mrs. Nellie B., piano, violin 609 Garland st., Flint Dart, Hattie, piano Pontiac Day, A., church music 44 W. Elizabeth st., Detroit Dean, Anna C . , piano , 136 Trumbull ave . , Detroit Delphey, Ella M., piano, school of music. Monroe De Forest, Lillian, piano 616 John Randolph St., Detroit De Lano Mrs. S. S., pianist Qi Watson st., Detroit Dessotell, Carrie, piano 53 W. High St., Detroit Dexter, Mrs. John, voice Miami ave., Detroit Desmond, Lucie C, piano Wyandotte Dickenson, Mary, piano Oak St., Ypsilanti Diedrich, Minnie, piano SOS E. Fort St., Detroit Doane, Mrs. G. H., vocalist Holly Doane, Mrs v. M., vocal Midland Donnoughue, Mary O., piano, organ 533 Cherry st., Grand Rapids Damon Avonia, piano 305 Maple St., Ypsilanti Dooling, Annie C, piano, theory St. Johns Dow, C. B., piano 73 Stimson PJace, Detroit Dow, Nellie D . , piano Sand Beach Doyle, E. E. piano 481 Trumbull ave., Detroit Duff, Helen Y ., piano Owosso Edwards, A. D., piano 51 Winder st., Detroit Eldredge, Mrs. G. H., voice 67E. Maumeest., Adrian Elliott, Eugenia, piano Pontiac Emerson, Mrs. J. E., voice ' 128 Henry st., Detroit Enright, Kate F., piano Ishpeming Farnsworth, Ellen, piano 13 Charlotte St., Detroit Fecht, Emma, piano 185 E. Congress St., Detroit Field, Dr. P. P., voice and oratory 11 W. High st., Detroit Pindlater, Sallie, piano 90 W. Elizabeth st., Detroit Fitch, Jennie, piano 513 Woodward st., Kalamazoo Fitch, J. W., voice 144 Henry St., Detroit Fitzsimmons, Ida, piano, voice 364 Barter st., Ionia Ford. Fannie H., pianist Grand st., Laasing Fozert, Lura W., piano 525 Warren ave., Detroit Freeman, Hallie, piano, organ 715 N. Saginaw et., Flint Gale, A. W., piano, organ, school of music , Monroe Gale, Frank C, piano - — Corunna Gale, Mrs. Frank C . , piano . . . Corunna Gates, Mrs. Gasper C., piano 235 Alexandrine ave., Detroit Gallop, Mrs. L. W., vocalist 257 Park st., Detroit Gilmore, Emily, piano 125 Selden et., Detroit Goodson, Florence, 321 S. Huron st., Ypsilanti Gorton, H. Spencer, piano, harmony 385 4th ave., Detroit Grayson, Dora R., music in the public schools Tecumeeh Graham, Marian, piano 346 Trumbull ave., Detroit Graham, Mary, piano 346 Trumbull ave., Detroit Grant, Alice, voice 1245 Woodward, ave., Detroit Grant, Forence, piauo. voice 1245 Woodward ave., Detroit Graves, Ju<1ith, pianist Academy of Music, Detroit Gray, Mrs.Wm., piano 616 Jefferson ave., Detroit Gregory, Lena A., piano Owosso Grimmer, M. Marguerite, vocalist 341 State et., Ionia Grennell, Grace, piano *. Jackson Groneman, Hattie, piano 179 B. Fort St., Detroit Gunn, Mrs . J . S., piano - Stanton MEMBERS. 235 Groinner, Fannie L., piano Ann Arbor Hadlcv, Margaret P., music in Public Schools 361 Hubbard ave., Detroit Haines, Tina M., piano, organ 358 2d st,, Manistee Hall, Edith, music in Public Schools Flat Rock Hammond, Mrs. Q. S., 83 E.Willis ave., Detroit Hanchett, Jennie, piano Leslie Hause, J. D., piano Clinton Halliday, Annette J., piano, voice 31 Duffleld St., Detroit Hamilton, Mrs. Anna, vocal 60 Brigham st., Detroit Hargrave, Mrs. Lydia P., piano 579 Trumbull ave., Detroit Harris, J. Floyd, piano Almont Harrah, Alice May, vocal 136 W. High st., Detroit Harrah, Mary B., piano 136 W. High st., Detroit Hart, Jenuie, vocalist 277 Putnam ave., Detroit Harris, Myrtilla, piano New Haven Hasliins, Mary^ piano Ecorse HalJ, Qustavus F., voice. Abstract Building Lafayette Ave., Detroit Hasler, Nellie, pianist Washtenaw st,, Lansing Hastings, Lizzie K., piano 100 Lafayette ave., Detroit Havs^ley, Mary, piano ...32 FarnBworth st., Detroit Hawn, Linda Marie, mueic in Public Schools 932 S. Washington ave.. East Saginaw Haywood, Maud L., piano Mt. Clements Hilderbrandt^H. C. cornet and french horn 47 Brewster st., Detroit Hill Mrs. K. H. M. voice, piano 405 Millard et., Saginaw Hinman, Eliza, piano Capitol ave., Lansing Hicks, Jennie M., musician St. Johns Hobbs, Nellie K., piano, vocal Benton Harbor Hollands, Irene, piano 160 W. Warren ave., Detroit Holmes, Margaret, vocal 169 Locust St., Detroit Hough, E. Grace, piano, organ, harmony Lapeer Houghton, S. L. piano Northville Howell, Mrs. C. E 141 Sycamore st., Detroit Hoyt, F. L. piano, voice, school of music . . .Monroe Humphrey, Bernice, piano 125 Selden ave., Detroit Humphrey, Fannie, piano Grand St., Lansing Hunter, Fordyce, piano Wyandotte Hulbert, P. M 85 Hazel St., Detroit Hunt, Harriette E., piano 530 W. Wilkins st., Jackson Huyett, Mrs'. M. C. piano 333 Lafayette ave., Detroit Hnyett, Neff 333 Lafayette ave., Detroit Ingalls, Nina, piano Almont Jacobs, Kate H. piano, Detroit Con. of Music Detroit Jacquemain,Xizzie, piano 499 15th st., Detroit Jenney, Belle A., piano 424 W. 5th st., Flint Jennings, Mrs. Albert, piano 513 Oak st., Manistee Jessup, Mrs. A. M. . 505 Bagg St., Detroit Johnson, Maud, piano 114 Seldon ave., Detroit JohDson, Lizzie, piano 696 Beaubien st., Detroit Kahn, Albert 106 Jones st., Detroit Kaiser, Antoinette, piano — 446 Gratiot ave., Detroit Kedzie.Mrs. Kate M , piano Washington ave., Lansing Kelley. Mrs. John, piano 45 Watson St., Detroit Kempf, Ruben, piano, organ, harmony 200 S. Division st., Ann Arbor Kennedy, Mrs. Frank, piano 42 Ellen st., Detroit Kennedy, Madeline 131 West Franklin St., Jackson Kerns, Mrs. S., piano 137 Laurel St., Detroit Kile, Miss A., piano Farmer Creek Klugh, May C, piano .• 328 W. Fort St., Detroit Klock, G. W., piano, singing Coldwater Knox, Miss E. J., piano State St., Hart Koestor, Raphael, violin, piano Blissfleld Krooz, Mrs. Carston, vocal 440 Putnam ave., Detroit Lame. Charlotte, organ 105 Farmer st., Detroit Langyear, Alice, piano, organ 42 Clifford st., Grass Lake Lawrence, Leonard, vocal Leid St., Detroit Lawson, Minnie, piano 50 Lewis St., Detroit Langlois, A. A. singing 146 E. Congress st., Detroit Langlois, Mrs. Fannie M 146 E. Congress st., Detroit Langlois, Sylvain, singing 146 E. Congress st, Detroit Laughrey, Lula Midland Leach, Mary P. organist 95 Ledyard st., Detroit Leavens. Miss Franc, piano 127 South st., Kalamazoo Lewis, Eva, piano Port Huron Lewis, Grace, piano Granville Lewis, Gay S., piano 67 Broad st., Adrian 236 MUSIC teachers' national association. Leggett, May, violin, Detroit Con. of Music Detroit Leggett, W. H., violin 52 Brainard st., Detroit Ltmpke, Augusta, voice 365 Grand River ave., Detroit Lemon, Satie, piano 803 2d ave., Detroit Levy, Miss Ray, piano 165 E. Montcalm st., Detroit Lipsey, Chas. H. piano 49 E. Montcalm 5t., Detroit Linde, Hedwig, piano 187 Charlotte ave., Detroit Little, Mary F., piano Owobso Livingstone, Margaret, piano 237 Park st., Detroit Long, Belle K., vocal Northville Longyear, Alice, piano, organ 4? Clifford st., Grass Lake Loage, Hattie E., piano 660 4tli ave., Detroit Long, Cecil, organ 513 Woodward st., Kalamazoo Lorman, Jessie 1145 Jefferson ave., Detroit Lowe, Edith L., piano 809 Cass ave., Detroit Lloyd, Bertha, piano 95 Watson st, Detroit Lloyd, Ethel, piano 95 Watson st., Detroit Luderer, Wm., violin Conservatory of Music, Detroit Luderer, Mrs. Wm., vocal ; 573 4th ave., Detroit Madden, Eliza, piano 499 15th st., Detroit Mallory, Minnie, piano 71 W. Fort St., Detroit Marsh, Florence, music in schools 23 Henry st., Detroit Marsh, Mrs. Carrie F., composer 4th %ve., Detroit Mason, Fannie S., piano, harmony 351 18th st., Detroit Mayers, Agnes, piano Box 79, Kalamazoo Maywood, Chas., piano Albion Mears, Margaret, piano Trenton Meurer, A., organ 11 Cleveland et., Detroit Mehan, J. D. voice 144 Henry St., Detroit Mehan, Mrs. J. D. voice 144 Henry St., Detroit Meier, Mrs. Pauline, piano 276 Randolph St., Detroit Mercer, Rose, vocal 158 E. Columbia st., Detroit Mclnnes, Abbie, vocal student Grand Rapids Mcintosh, Emma, piano 132 3d St., Detroit McNeull, R. E., piano, voice 800 Beach st., Flint McNeill, M. C, vocalist Detroit McDonald, Kate, piano West End P.O., Detroit McDonald, Miss Theo, music in public schools .Grand River ave., Detroit McDonald, Mary, music in public schools... West End McDonald, Grace A., piano Charlotte McMaster, Jessie, piano 136 McDougall ave., Detroit McMaster Anna, piano .... Clinton McMas er, Lena, piano, Detroit Con. of Music Detroit McEnolly, Theresa, piano 247 E. Port St., Detroit McEacheran, Mary, piano 631 Trumbull ave., Detroit McKay. Jessie, piano 467 Lafayette ave., Detroit McKerrow, May P., piano 58 Leverette st., Detroit Minier, A., organ 11 Cleveland st., Detroit Miller, J. A , piano, voice, harmony 105 Huron st., Ypsilanti Miller, Albert, vocal 508 Cass ave., Detroit Millikin. H. A. violin Fenton Mills, Florence, piano ; 346 Cass ave., Detroit Mills, Vesta, piano Saline Milspaugh, Lizzie M., voice 213 North st., Ypsilanti Moore, Josie, piano 845 3d St., Detroit Moore, Carrie B., piano Greenville Moye, Alma B, piano .• iSaginaw Moses, Fannie, piano 2118 3d ave., Detroit Morrison, Lily, vocal 106 E. Adams ave., Detroit Mortlock, Florence 25 Bradley st., Detroit Mo wry. May E., vocal , 55 Adelaide St., Detroit Mulheron, Agnes, piano 73 E. High st., Detroit Mulliken, Fannie, piano 800 2d ave., Detroit Murray, Florence, vocalist 157 Sycamore st., Detroit Murrav^, Mary, piano East Alexandrine ave., Detroit Murray, Mildred, piano Forest ave., Ypsilanti Muzzle, Abbie, piano Romeo Neston, May E., voice 477 16th St., Detroit Newman, J. S., organ Romeo Ney, Marion B , music St. Johns Northrop, Bertha, vocal 30 E. High st., Detroit Norton, Mrs. Ida, voice, Detroit Con. of Music Detroit Nostizt, Theresiavon, piano 640 E. Congress st., Detroit Nykerk, John B., voice, harmony Holland City Orr, Mary L., harp 38 E. Alexandrine St., Detroit MEMBERS. 237 O'Donnoaghue, Mary, piano, organ.. 532 Cherry st., Grand Kapids Partridge, LulaM., piano T. 627 3d ave., Detroit Patrick, M., piano 102 Bagg gt., Detroit Palmer, Harry 19 W. Montcalm et., Detroit Palmer, ElvaE., vocal Grand River ave . P. O. Detroit Pearson, Jno M., piano, organ, violin 800 Beach st., Flint Patterson, MrB. A. M. vocalist 51 Sycamore et., Detroit Patterson, Libbie, voice 51 Sycamore 8t., Detroit Pease, Frederick H., voice, singing, Detroit Con. of Music . Yysilauti Pease, -Jessie L., piano 119 Washington st., Ypsilanti Pease, Mrs. Frederick H., voice, piano ...Ypsilanti Perry, Misa B. M 164 Perry st., Detroit Peters, Albert, vocalist 386 Trumbull ave., Detroit Petsch, Maggie, piano St. Johns Pettee, Harry H., voice 75 Bagg St., Detroit Pittman, Mrs. Sarah E., piano Detroit Con. of Music, Detroit Potter, Grace, vocal ; 52 Riquette ave., Detroit Potter, Amelia, vocal Detroit Porter, George F 683 12th st., Detroit Porter, May E., piano, Detroit Con. of Masic Detroit Pope, Pauline, piano, Detroit Con. of Music Detroit Post, H , C . , piano Grand Rapids Pevsners, Edward L., piano Broneon Pomeroy, Wm. F., vocalist Holly Phelps, La Vene E., piano 767 Wealthy ave., Grand Rapids Phelps, Louisa, organist Tecumseh Piatt, Chas. E., piano, harmony, Detroit Con. of Music Detroit Plovire, Mrs. Geo., piano Sand Beach Preatlss, Mary E., piano 83 Pitcher st., Detroit Prentisf", Mrs. S 83 Pitcher st., Detroit Price, Mrs. G. S St. Johns Puhl, Mrs. M. W., piano 538 St. Aubinave., Detroit Putnam, Ruth S., piano 314 Forest ave., Ypsilanti Racicot, H. C, vocalist 305 Crogan st., Detroit Radcliff, Frederica, vocal 42 Howard st., Detroit Ramm, Fritz, zither 208 E. Congress st., Detroit Raymond, Lillian, piano 394 24th st., Detroit Reed, Edith M., piano, organist 39 Hudson st., Coldwater Rector, E. M., piano 212 Woodward ave., Detroit Reishrath, Louisa, vocal 187 Grand River ave., Detroit Renwick, Edward T., voice Sword ave., Detroit Renwick, ^eo. W., music in schools 161 Terrace St., Muskegon Reynolds, Mattie A., violin Albion Reynolds, Hattie, violin, piano... Albion Ruthtufif, Hattie, music in schools Grand River P. O., Detroit Ripley, Agnes M., piano Alpena Rice, Wm. B., piano 74 Beach st., Detroit Rice, Etta M., piano 91 Watson st., Detroit Roberts, Mary G., piano 561 Mullett st., Detroit Robinson, Mrs. Fred A., vocal 556 Cass ave., Detroit Robinson, Etta, vocal Battle Creek Roe, Frances, piano Clarkston Roe, Minnie G., piano 519 W. Wilkins ave., Jackson Roehl, Clotilde 602 E. Congress et., Detroit Rohrabacher, Edith, piano Lainsbnrg Root, Cora I., piano, vocal, harmony Somerset Root, Jennie C, piano, organist Tecumseh Rowley, Helen M., violin, piano Romeo Rupp, B. H., piano 93 W. Maumee st., Adrian Ryan, Madge, piano 45 Piquette ave., Detroit Sanger, Cora, piano 234 E. Woodbridge St., Detroit Sawyer, Mrs. M. P., piano, voice Trenton Schnoor, Eugenia, piano . . .New Baltimore Scofield, J. C, singing 65 Beaubien st., Detroit Scheffler, C. B., piano, harmony Albion Schultz, L. F., violin 87 E. Columbia st., Detroit Scott, James, violin 324 4th st., Detroit Scrimger, May 318 Campau, Detroit Scrimger, Mina, piano 318 Campau, Detroit Sessions, Julia, music in schools 1010 South West st., Kalamazoo Seyler, Julius V.. piano, Detroit Con. of Music Detroit Seymour, Kate, piano UN. State st., Ann Arbor Sevvall, E.G., piano 72 E. Alexandria ave., Detroit Shepard, Mrs. H. N., piano 66 Sibley et., Detroit Shute, Bessie, voice ,,, 175 Willis ave., Detroit 288 MUSIC teachers' national association. Sickler, Anna A., piano , 116 W. High et., Detroit Shank, Mrs. Ella W., violin 110 Allegan St., Lansing Silk, Mrs. A. E. pianist Washtenaw St., Lansing Shick, Alice G., piano Owoso Skinner, Kate, piano 58 W. Elizabeth st., Detroit Skinner, Hattie, piano 58 W. Elizabeth st., Detroit Sherwood, Helen, piano Plymouth Simonds, J. K., piano, harmony Pontiac Simonds, Mrs. J. H., voice Pontiac Smart, Minnie E., school of music Mt. Clemens Smart, Lilla Grace, piano, harmony 703 Detroit St., Flint Smith, Florence, piano Almont Smith, Marion, piano 55 Washtenaw st , Ann Arbor Smith, Ella, piano Clinton Smith, E. May, piano, organ Charlotte Smith, Alice, piano. 91 Onellette ave., Detroit Smith, Emma, piano 90 E. High st., Detroit Smith, Inez E ., piano, voice 25 Harper ave., Detroit Smith, Mrs. Dwight S., piano Jackson Snyder, W. E., piano 583 17th St., Detroit Spencer, H. P., Detroit Speil, Emil, flute Detroit Con. of Music, Detroit Springer, Abbie, organist 468 Putnam ave., Detroit Standart, Mrs. N. K., vocal 158 Lincoln ave., Detroit Stansbnrj'. Margaret, piano Detroit Con. of Music, Detroit Stafford. Mintie, piano Port Hope Stafford, Franc s A., musician Port Hope Stevens. Charles B., voice Whitney Building, Detroit Stephenson. Marie, pianist Main st. Lansing St. John, Mrs J. S., voice 515 Commonwealth Ave., Detroit St, John, Marv, voice , Dtica Southall. Miss J . M . , vocal Detroit Stoddard, Mrs. Nellie S., voice 336 3d St., Detroit SK)ddard, Lillie Lee, piano and organ Aspen Stoddard, Jennie M.. vocal 336 3dst., Detroit Stone, Mary, music 74 W. Adams ave., Detroit Stoner, Mrs. L. J. K.. piano Fen ton Stone, Mrs Dwight Y ., piano 230 Stone Terrace, Flint Stridiron, Miss B. S., piano 170 McDougall St., Detroit Strop, Anna, piano 32 Farnsworth St., Detroit Strong, Frances, piano 127 Normairgt., Ypsilanti Sutherland, Mr; ., piano Oscada Terril, Mrs. B. E Muir Tackels, Louise C. piano Romeo Thatcher. Fred. C, organist 40 W. Fort st. Detroit Thomas, Mrs. Emma A., music in schools Detroit Con. of Music, Detroit Thomas, Amelia W., piano 2-32 2d ave., Detroit Thomas, Minnie, piano . . .9"! Watson St., Detroit Thompson, Mrs. L. F., piano 928 Cass ave., Detroit Townsend, Minnie, piano Almont Thirkell, Is^ibel. organ and vocal 161 Wayne st., Detroit Todd, Juna, pianist Grand St., Lansing Towne, Nora, vocalist Capital ave., Lansing Townsend. Eila, piano Metamora Tozer, Laura, piano 525 W. Warren ave., Detroit Trowbridge, Mary E., violin and piano 609 Jefferson ave., Detroit Treat, May, vocal Bessemer Trumbull, Mrs. Geo., piano Academy of Music. Detroit Tuksbury, Earl C, piano, 43 Cresent place, Grand Rapids Turner, Carrie 1., piano, 229 McDougall ave., Detroit Turpier, Eva, vocalist . . . North St., Lansing Tuthill, Erta, music in schools, 74 W. Adams st.. Detroit Uhl, Mrs. E. F., Grand Rapids XTlrich, Jessie E., music in public schools Codilae Ulrich, EttaM., music in public schools 462 Trumbull ave., Detroit ITnsworth, Louisa, piano 152 Tremont St., Detroit rtley, Hattie M.. piano Salem Van Camp. Mabel, voice 71 Brigham St., Detroit Van Buren, Miss A. C, 220 E. High st., Detroit Van Buren, Anna, piano Con. of Music, Detroit Vet, (\ M., Sr., violin Academy of Music, Detroit Vet, Mme, Mathilde, piano Acadtmy of Music, Detroit Vet, C. M., Jr. piano and harmony.. Academy of Music, Detroit Vogt, Ida, Gnitar Detroit Von Nostitz, Theresa, piano 640 E. Congress st., Detroit MEMBERS. 239 Wagner, Agnes, piano Box 74, Kalamazoo Wagner, Mrs. J. L., piano Grand Ledge Walker, Mrs. J. N. O., voice 47 Edmund place, Detroit Walker, Henriette, piano 173 15th St., Detroit Walker, Sophia E., singing 173 15th st., Detroit Walker, Mrs. W. K. pianist Washington ave. Lansing Walter, Margaret, pianist Franklin st., Lansing Wamsley, Emma Marie, piano Hillsdale Waterman, Clara, piano 68 Pitcher st., Detroit Webb, Lizzie, piano 285 Grand Kiver ave, Detroit Webb, Mrs. Walter, piano Jackson Weiss, George E., clarinet and bassoon 85 Sherman st., Detroit Webster, Lillian, piano Pontiac Wheaton, Addie, music in schools 15 Beach St., Detroit Whitney, Mrs A. A., piano Port Huron, Detroit Whittemore, Mrs. Harry, vocal Bay City Whitney, Mabel, piano Traverse City White, Gaylord B., composition 244 Lafayette ave., Detroit White, Clarissa, piano 14 West Adams ave., Detioit Whipple, Mrs. S. H., vocalist 47 Tuscola St., Detroit Wilder, Susie, piano 969 3d st. Detroit Wiley, Margaret W , piano Detroit Con. of Music Wiley, Bertha, piano 894 Cass ave,, Detroit Williams, Louise, piano - Hillsdale Williams, P. S. C, piano and harmony 971 16th st., Detroit Williams, Julia H., pianist Jefferson ave., Detroit Willett, Mrs. W. L., piano and voice Flint Wilson, Mary H., piano and organ 300 Wsst Fort st., Detroit Wilson, Annie S., voice and piano 88 Lafayette ave., Detroit Wilson, Edward, piano 245 24th st., Detroit Wilson, Mrs. Edward, piano .245 24th St., Detroit Wing, Emma, piano Hillsdale Wing, Conrad, piano Marine Citj Winship, Mrs. B., vocal in College 4 Clinton st,, Adrain Widner, Belle, piano and voice Wyandotte Wiley, Mary H., organ and piano 300 W. Fort st., Detroit Wolcott, J. T., piano and theory 87 Pitcher st., Detroit Wolfe, Margaret M., piano 180 Campau ave., Detroit Woodruff, E. F., voice Sapeer Worden, Mrs. A. L., voice 51 Lincoln ave., Detroit Worthingtoq^ Jennie A., piano and harmony Albion Worth, Jennie, piano Birmingham Wortley, Miss, voice Ypsilanti Wood, Florence, piano Almont Wright, Harrison, chorister,., 158 Lafayette ave., Detroit Wright, Kate, piano Utica Wright, Virginia, vocalist 37 Henry st., Detroit Yerkes, Mrs. D. H., organist 409 Huron st., Ypsilanti Yerkes, Hattie, piano 665 Trumbull ave., Detroit Yerkel, Mrs. N. D., organist, 409 Huron St., Ypsilanti York, F. L., organ Ann Arbor Young, Nellie, piano 110 Barclay St., Grand Rapids Young, Franz, piano 37 Wells ave., west, Detroit Young, Fannie, piano W. Willis ave., Detroit Zillioux, Mrs. Dora, violin Jackson MINNESOTA. Baldwin, Samuel A., organ and theory 330 W. 3d st., St. Paul Beebe, A. A., piano and harmony — Heron Lake Crueger, Paul, harp, zither, and mandolin, N. W. Con. of Music Minneapolis Drill, Thos, T., voice 511 Nicollet ave., Minneapolis Foch, E., piano 322 Nicollet ave,, Minneapolis Gleason, Mrs. H, W., piano 60854 Nicollet ave., Minneapolis Hoevel, Heinrich, violin. .511 Nicollet ave., Minneapolis Johnson, Gustavus, piano 511 Nicollet ave., Minneapolis Kryeger, Paul, harp, zither, mandolin N. W. Con. of Music, Minneapolis Lachmund, Carl V., piano, composition and orchestration, 511 Nicollet ave., Minneapolis Mettke, Mme, M, J,, music St. Mary's Hall, Faribault Mettke, Hans, Cello, piano, voice and harmony 92 E. 3d st, St. Paul Morse, Chas. H., organ, piano and theory 608 Nicollet ave., Minneapolis Raymond, M. W., piano and history St. Mary's Hall, Faribault Stempf, Richard, piano and voice 511 Nicollet ave,, Minneapolis Strong, Katharine M., Music Albert Lee College, Albert Lee Zoch, H. E., piano, 223 Nicollet ave., Minneapolis 240 MUSIC TEACHEES' NATIONAL ASSOCIATION. MISSOURI. Brainard, Mrs. Kate J., vocal music Mary Institute, St. Louis Busch, Carl, violin, harmony, etc Y. M. C. A. Building, Kansas City Chase, Eunice L., piano 4718 Broadway, St. Louis Epstein, A. I., piano •. 2214 Lucas place, St. Louis Epstein, M. I., piano and composition ..2214 Lucas place, St. Louis Epstein, Herman, piano 2214 Lucas place, St. Louis Fisher, Mrs. G. A., piano .2009 S. Compcon ave., St. Louis Flinn, F. M. H., piano and voice .830 Center st., St. Louis Foote, Annie C, piano 1814 Olive st, St. Louis Freligh, Louis H , piano, organ, voice and harmony 3038 Magazine st., St. Louis Freligh, Mrs. Louis H., 3038 Magazine St., St. Louis Gilsinn, M. A., piano and organ 3855 Bell ave., St. Louis Hengy, Eva, vocal music Holden Humphreys, Chas., piano and voice 2214 Lucas place, St. Louis Kilcullen, Kate, piano 2619 St. Louis ave., St. Louis Kroeger, Julia B., music 3315 Laclede, ave., St. Louis Hoodie, James, violin 630 Forrest ave., Kansas City Newland, Mrs. A. F., piano and harmony 3335 Laclede ave., St. Louis Ralston, Mrs. Lucy B., piano and harmony 3431 Lucas ave., St. Louis Runice, Mrs. Constance F., composition 17th and Farron st., St. Joseph Schultz, H. E., piano and violin 506 Y. M. C. A. Building, Kansas City Strong, Nellie C, piano 1003 Garrison ave., St. Louis "Woodward, Anne F., music 3731 W. 25th st, St. Louis Wright, Kate E., piano and voice. 3404 Franklin ave., St Louis MISSISSIPPI. Barhe, N. A., violin, piano and harmony Verona MONTANA. McMillan, Mrs. Emily, piano and organ Deer Lodge NEBRASKA. Miller, J. C, music in public schools Lincoln Knopfel, Gustavus C, piano, organ and singing 1613 Dodge st. Omaha Wallace, Margaret E., piano — Brownell Hall, Omaha NEVADA. ♦ Layton, Mrs. L. A., vocal and instrumental Virginia City Quaiffe, Mary Eva, piano, voice and composition Bishop Whitehouse School, Reno NEW HAMPSHIRE. Baldwin, E. T., piano and organ P. O Building, Manchester Melendy, Anna L., piano 213 Main st, Nashua Temple, Edward M., vocalist Nashua NEW JERSEY. Allstrom, Harold K., piano, organ and theory Red Bank Belcher, Kate H. Park Hotel, Orange Baker, Miss L. B., piano 27 Evergreen place, East Orange Bradshaw, Mary S. piano 37 Ridge st.. Orange Carrington, Laura E., piano 26 Burnet st, East Orange Feiel, Henry, music 21 Bank st, Newark Fithian, P. G,, piano, organ, voice and theory 405 Linden st, Camden Harding, Henry, voice, piano and harmony , Freehold Hutchings, Corinda, piano 22 Essex ave. Orange Hyde, D. W., pi. -ino and harmony Netherwood Koons, Clara, piano and voice Box 318, Lambertville Leonard, Joseph H., Pres. P. T. S. S., conductor lona Mason, William, piano Orange Moerscher, Wm., string, reed and brass instruments Belvidere Miller, E. Presson, piano organ and theory 202 High st' Millville Olney, Edith, piano Hamilton Povey, Grace A., piano 367 Tompkins ave., Brooklyn Roeder, Adolph, piano and vocal 735 Landis ave., Vineland Schilling, Fred, piano, organ and harmony East Orange MEMBERS. 241 Seward, Theodore F., piano, organ, singing and harmony East Orange Young, EffieE., violin and piano 43 Parkst., Orange Van Wagner, J., piano, organ and harmony New Milford NEW YORK. Abercrombie, Chas., singing and vocalist 71i Power's Block, Rochester Agramonte, Emilio, voice 118 E. 17th st.. New York City Babcock, Hannah A., piano, organ and harmony, 9th ave. and 34th st., Ins t for the Blind, New York City Bailie, Virginia, piano New York City Bergstrom, Karl G., piano 10 E. 16th St., New York City Bartlett, Homer H., 236 W. i32d St., New York City Brinkerhoff, Mme. Clara, voice... 219 E. 18th st., New York City Bowman, E. M., piano, organ and theory Steinway Hall, New York City Brotherhood, J., piano 6 W. 14th st., New York City Brewer, Jno. Hyatt, piano, organ, vocal and composition 49 S. Oxford st., Brooklyn Brown, Mme. Marie Lovell, piano ; Chickering Hall, New York City Cappiani, Mme. Luisa, vocal culture 217 2nd St., New York City Crandell, F. W., piano and theory 66 Hanson place, Brooklyn Crawford, Rebekah, piano 28 First place, Brooklyn De Enger, W. Walter, vocal 719 Power's Block, Rochester Dickinson, Mrs. Isaac, piano, organ, voice and harmony Utica During, Chas. A. A., piano 123 W, 41st., New York City Eberhard, Dr. Ernest, director Grand Con. of Music, 16 E.23d St., New York City Brnesti, Titus D., piano and composer 253 E. 73d st.. New York City Everest, Eleanor Warren, voice 128 E. 17th St.. New York City Paber, Mrs, Alice, piano and singing 3 and 4 Hay ward Building, Rochester Greene, O. R., piano and voice, music in schools 194 Main st., Cohoes Greene, George F., music in public schools 650 Fulton st , Troy Hall, Walter J., piano Steinway Hall, E. 14th st.. New York City Harcourt, Mrs, Holmes, piano 224 W. 38th. st.. New York City Hard, Elvira, piano Mt. Hope Tremont, New York City Jeremiah, John A., vocal 215 W. 11th st., New York City Kelsey, David McClellan, music in schools, voice, director, 29 York ave., Saratoga Springs Leggett, Katherine D., piano , 96 Jamaica ave.. Flushing Lord, Emma A., mnsic 319 Saint Mark's place, Brooklyn Lombard, Louis, violin, soloist, composer, critic and director Con. of Music, Utica Mac Farlane, Will C, organist 68 W. 93d st., New York City Mc Glashan, EllaR., piano, organ and theory 84 Ontario St.. Lockport Memmler, Herman, piano, organ, violin and harmony..., 177 E . 79th St., New York City Moore, Edwin, piano, singing and theory , 159Woodworth ave., Yonkers Moss, Mary A., piano 138 Lander St., Newburgh Muller, C. C, harmony, composition Steinway Hall, New York City Myer, Edmund J ., voice 36 E . 23rd st . , New York City Parker, Geo. A., piano, violin and singing Syracuse LTniversity, Syracuse Parsons, Mrs. A. R., Garden City Parsons, Herbert S., , Garden City Penfield, Dr. S. N., piano, organ and theory 260 W. 57th St., New York City Pettit, Geo. W., piano, music in schools 788 Broadway, New York City Phelps, E. C, piano, voice and composition 24 Green ave., Brooklyn Povey, Grace A., piano 367 Tompkins ave., Brooklyn Pratt, S. G., piano and composition 107 W. 114th st.. New York City Raff, Joseph, piano and harmony 43 Henry st., Binghampton Robinson, Miss M., piano Long Island, Newtown Russell, Louis Arthur, music 21 E. 14th St., New York City Salter, Sumner, piano, organ, voice and theory 17 E. 16th St., New York City Taber, Mrs. Alice, piano and singing 374 Hay ward Building, Rochester Thatcher, S. N., piano tuner 245 Chenango st., Binghamton Vining, H. Sheibrook, music journalist 189 Sixth ave., Brooklyn Virgil, A. K., piano ISE. 17th st.. New York City Virgil, Mrs. A. K., piano 1? E. 17th St., New York City Volker, James A., piano, violin and singing .32 Ellis place, Sing Sing Von der Heide, J. F., piano, voice and theory Steinway Hall, New York City Wilder, Nellie A., piano, organ, banjo and guitar 360 Central ave., Rochester Wilkins, Herve D., piano, organ and singing. 24 S. Goodman st., Rochester Wodell, Fred W., vocalist 34 Glasgow st., Rochester Woodman, R. Huntington, organ, piano and theory 364 Pacffic st., Brooklyn NORTH CAROLINA. Backbinder, Mitchell, pjano, organ and harmony Neave, W. H., piano, organ, voice, violin, flute and cornet Charlotte Salisbury 242' MUSIC teachers' national association. NORTH DAKOTA. Hodge, Geo. B., vocal State University, Grand Forks Hodge, Mrs, Geo. B., voice Grand Forks Klapp, Mrs. Frederic, piano Jamestown Phillips, Frances, piano — Fargo OHIO. Andrews, Geo. W., organ and composition 10 Forest St., Oberlin Arens, Franz X., piano, voice, theory and composition 44 Euclid ave., Cleveland Bacon, N. B., voice and harmony 12 Walnut St., Oberlin Bauer. Minnie L.. piano and organ Hartville Beck, Johann H., violin, theory and composition 186 Ohio st., Cleveland Beebe, Mrs. W. A., singing 46 College ave., Woster Blake, Thaleon Geo,, musician Sidney Blum, Laura E., piano , ,. ., 59 W. 5th St., Csmton Blumeuschein, W. L., Con. of Music, Dayton Brown, Florence, piano Oberlin Buchanan, George D., music in public schools Sidney Buel, Berta, piano Malvern Colson, W. B., Jr., piano and organ 106 Euclid ave., Cleveland Comstock, Oscar Franklin, piauo and theory 44 Euclid ave., Cleveland Cushing, S. D.,... Toledo Davock, Harriet, piano and harmony — 481 Prospect St., Cleveland Demuth, J' )hu Arthur, violin and wind instruments 8 So. Pleasant St., Cleveland Doeraer, Armin, piano College of Music, Cincinnati Doolittle, Ada S., piano, organ and harmony PoneeB Droge, Max, piano, vocal and violoncello 44 Euclid ave., Cleveland Evans, Annie, piano Bolivar Farnum, H. O., organ, piano, twinging and tiieory 176 E. High st., Springfield Farnum, Mrs. H. O., mus^ical journalist 176 E. Highst., Springfield Graler, A.T., piano and voice Supt. of Schools, Navarre Grimm, C. W., piano, organ and theory 18 South st., Zanesville Harding, S. C, music in public schnols Oberlin Harmon, Mrs. EmelineE. piano and voice Prospect st., Ashtabula Hargravc, W. H. J., organist N. E. cor. 14th and Race sts., Cincinnati Harvey, Kate E . , music in public schools 283 E . 9th st . , Canton Halter, Mary T., piano and organ Waynesburg Haynes, Hattie, piano W. Bloom st., Mansfield Hetlick. Elizabeth, vocalist 260 Findley st., Cincinnati Hicks, Fred I., violin, piano and theory 87 Arlington St., Cleveland Hill, Ethel, piano Montpelier Eolron, J. W., piano and singing 4 E. Lorain St., Oberlin Huber, Wm., Jr., piano, organ, theory and harmony 350 High st., Hamilton Jackraan, Olive, piano and organ Canton Johnson, Mrs. Chapman, piano Avondale, Cincinnati Johnson, H. H., music in public school Sidney Kail mer ten, Mrs. Fred., music Sturges ave., Mansfield Lavin, Sarah, voice .70 Feather st.. Canton Lea-vitt, Doratha, piano Warren Lind, Ertson S., piano, organ and voice 18 E. North st., Canton Locke, Elisha, vocal and instrumental Riddle Road, Clifton Hights, Cincinnati Lott, W. H Colnmbus Martin, Anna L., piano 447 Crittenden ave., Toledo Mathias, L., piano and violin, music in schools 117 Summit st., Toledo Marsteller, Herman G., violin Dayton Mattoon, Edward S., piano and theory 28 Mc Mill en ave., Columbus Miller, John, piano 113 E. Highst., Springfield Miller, Marie, piano 113 E. High st.. Springfield Miller, Dr. John M 113 E. High st„ Springfield Myers, Gertrude E., guitar, Canton MerK, Bessie C, piano Wooster Pontius, W. H., voice, theory and director 128 W. Sdst., Mansfield Rogers, James H,, piano 106 Euclid ave., Cleveland Raynolds, A. C, guitar Canton Sbeling, Hermann, piano, organ, violin and harmony 320 Oak St., Columbus Schaeffier, Gertie, piano Canton Schafer, Laura L., piano Piqua Schones. Emma, , Lafayette Smith, Wilson G., singing, piano and composition 55 Euclid ave., Cleveland Smith. Mrs. Wilson G., 158 Taylor St., Cleveland Sommer, Chas. G., piano and composition 1046 Woodland ave., Cleveland Sotz, John D., piano and organ S32 S. Front st., Hamilton Stewart, N. Coe, voice, public school 1364 Euclid ave., Cleveland Vignos, Blanche, piano Canton MEMBERS. 248 Van Cleve, John S., piano, voice and theory, 7 King's Terrace, Mt. Auburn, Cincinnati Wolfram, Claus, piano 704 E. Market St., Akron Wolfram, Johannes, piano, organ «nd theory Canton Wolfram, Theo., organ Columbus Wolforth, Louise, piano N, Diamond st., Mansfield OREGON. Cook, Eben, piano, singing and harmony Portland Preidenrich, S. music Portland Loomis, Ellen A., piano and organ Roseburg PENNSYLVANIA. Allen, Geo., Jr., violin and violoncello 3300 Hamilton st., Philadelphia Arnold, J. C, violin, harmony, music in schools 219 W. Wheeling st., Washington Atwttter, Frank W., music , Edinboro Bausmann, Walter, piano and singing Lancaster Backmann, Alexander, piano, organ and violin ;.1327 N. 18th st., Philadelphia Borst, A , piano, organ and theory 3602 Hamilton St.. Philadelphia a'Becket, Thos. piano and theory 1541 N. 19th st., Philadelphia Birchard, Geo. G., voice Cambridge Birchard, Irene, music in schools Cftmbridgeboio Brierley, Geo. F., voice 1014 Chestnut St., Erie Carter, Chas. Davis, piano, voice and composition Bisssell Block, Pittsburg Chandler, Kate H., prin. of Phil, schools of music 1511 Girard ave., Philadelphia Dutton, Wm. D 1115 Chestnut st., Philadelphia Eldridge, Lucile, violin and theory 420 Penn ave., Pittsburgh Fisher, Geo. L., piano and organ Middletown Foerster, Mrs. Ad. M„ piano 4213 Fifth ave., Pittsburgh Galentin, Bertha, vocal Ursuline Academy, Pittsburgh Geuth, Emma E., piano 3937 Locust st., Philadelphia Gilchrist, Wm. W., piano and composition. .5014 Wayne ave., Germantown, Philadelphia Gettings, J. H., P. O. Box 523, Pittsburgh Haigiit, Irma, piano and voice Blairsville, Allegheny Hill, E. H., piano and theory Sugar Grove Hollinsworth, Kate F., piaijo and theory 327 N. 33nd St., Philadelphia Jarvis, Chas. H , 3738 Locust st., Philadelphia Knauss, Chas. E., piano and organ 815 Ferry st., Easton Landon, Chas. W., journalist 1704 Chestnut St., Philadelphia Landon, Mrs. Chas. W., journalist 1704 Chestnut st., Philadelphia Livealy, Jno., W. H., piano and organ .. 516 Dickinson st., Philadelphia Law, Frederick S., voice and piano , 1121 Spruce st., Philadelphia Maxson, Frederick, piano, organ and singing 1802 Fairmount ave,, Philadelphia Mettke, Hans, piano, voice, organ, cello and harmony 1528 Market st., Philadelphia Moore, Nena, musician 112 W. 4th st., Erie Morris, Susan M., voice and piano Fort Washington Olhmler, Leo, violin, piano and theory 245 Charliers st., Allegheny Pendleton, H. H. singing, piano and organ 2211 Jefferson st., Philadelphia Pfahler, Lillian K., piano and organ 138 Locust St., Columbia Richard, J. piano and theory ■ 1617 Spruce st., Philadelphia Ritter, Albert A., piano, organ and harmony 2-32 Pern st., Reading Schmitz, Miss H. M., piano 3104 Baring st., Philadelphia Schaeberle, J. P., piano and violin Linden Hall Sem., Lititz Sehmler, Clara, piano 245 Chartiers st., Allegheny Soth worth, E. E., piano, organ and voice Ill Lackawana ave.. Scran ton Smith, EmmaM., piano 3309 Penn ave., Pittsburgh Sower, Sarah C, piano, organ aud theory 1617 Spruce St., Philadelphia Sower, Frederick C, piano and singing 1617 Spruce st., Philadelphia Stankowitch, Anthony, piano and theory 1416 Chestnut st., Philadelphia Sternberg, Constantin, pianist Philadelphia Sternberg, Mrs. Constantin, vocal Philadelphia Van Gelder, Martin, piano and violin 521 N. 19th st.. Philadelphia Vozel, Agnes, singing Whittier st., Pittsburgh Wilt, H. C 210 S. 37th at., Philadelphia WolsieflEer, Wm., piano, organ, violin and singing, 1726 Atlantic st., Tioga, Philadelphia Wolff, S. A., piano Gettysburg Zimmerman, E. M., vocal 1509 Mt. Vernon st., Philadelphia RHODE ISLAND. Bonner, Robt., piano, organ and harmony 60 Williams st., Providence Chaffin, Mrs. Sarah S., 113 Bowen St., Providence Farmer, Sarah M,, singing in public sehools, 14 Claverick st.. Providence Jordan, Jules, singing 54 Broadway, Providence 244 MUSIC teachers' national association. Lamas, Geo. H., piano, organ and theory 5 Depot st., Pawtucket Leclerc, Brnest, piano and organ Manville Macdougall, H. C, 34 Summer St., Providence Meyera, P. J., piano and voice 38 Pelham at., Newport Wilber, Newell u., piano, organ and harmony 37 Dndley St., Proridence SOUTH CAROLINA. Brockman, Emeat, Colnmblft TENNESEE. Tobey, Mrs. E. T., piano S30 ManasBee at., Memphis Tradeau, Martha, piano S9 Driver st., Memphis TEXAS. Butte, M. Albertine, voice and piano Mary Allen Seminary, Crockett Broussard, Elsie, piano — Broadway near 16th et., Galveston Clark, Horace, Jr., piano and theory.. Corpus Christi HayxQcnd, Mrs. Joseph, piano, voice and theory Belton Thikenloopn, Mrs. L L., Avenue K and 24th St., Galveston Rowe, Geo. H. director of music Baylor College, Belton Voiers, Mrs. G. W., piano and theory Forney UTAH. Maakin, John P., vocalist and elocutionist 817 E. 4th st. South, Salt Lake City VERMONT. Eddy, M. H., piano and organ 15 Church et, St. Johnsbury VIRGINLA.. Bryast, Gilmore W., piano and theory Wesleyan Female Institute, Staunton Munday, Mrs. Fannie C, piano and voice Bank st, Suffolk Webb, F. R., piano, organ, harmony Virginia Female Institute, Staunton WISCONSIN. Bach, P. M., vocal music 389 24th st. Milwaukee Blakeslee, Miss E. L., vocal music in normal schools SOGWiscosin ave., Oskosh Fillmore, John C, piano and theory 422 Broadway, Milwaukee Olin, Nora, voice and piano Waukesha Parker, F. A., piano and singing 14 W. Oilman et., Madison Sylvester, John, music 462 South st., Appleton Sylvester, Mrs. John, vocalist 462 South et., Appleton Todd, Julia M., piano Grand ave., Flat 23 Belvidere, Milwaukee WASHINGTON. Mueller, F., piano, organ and theory Seattle Potom, MaryL., concert pianist Hotel Rainier, Seattle WEST VIRGINIA. Church, Mrs. M. L., 1208 Ann st, Parkersburg Peyton. Sallie, public schools Huntington Smith, Mrs. Kate A. piano 303 9th et., Parkersburg- Spanganberg, Dora, public schools., Huntington SPECIAL PATRONS.— DETROIT. Rmeell A . Alger, Wm. Aikman, Jr., Mn. B. L. Adams, Thomas Adams, Miss Julia Allen, T. S. Anderson, Frank D . Andrus. •George R. Angell, E. A. Armstrong, E. E. Armstrong, H.I. Armstrong, Mrs. E. H. Ashley, Allen W. Atterbury, Miss Clara A. Avery, John H , Avery, Harry E . Avery, W. A. Avery, Mrs. John J. Bagley, ^ohn N. Bagley, H. P. Baldwin, Mrs. H. P. Baldwin, H. P. Baldwin, 2nd, Mrs. L. H. Baldwin, Fred A. Baker, John Babillion, Edwin S. Barbour, Geo. H. Barbour, Levi L. Barbour, Edward A. Barnes, Mrs . Kinzie Bates, A. W. Beal, <:ha8. F. Beck, Geo. O. Begg, Mrs. Eugenia Bell, John A. Bell. Mrs. W. C. Bennett, O. F. Berdan, P. A. Billings, Geo. W. Biasell, Clarence A. Black, F. L. Bliss, Charles Bobzin, J^. B. Book, E. J, Booth, Allan Bourn, C. C. Bowen, A. G. Boynton, Wm. V. Brace, Geo. N. Brady, Preston Brady, W. H. Brearley, Seymour Brownell, Frank W. Brown, Mrs. M. Buckley, C. W. Burrows, Lon Burt, C. H. Buhl, T. D. Buhl, Walter Buhl, Charles Buncher, B. H. Butler, Martin Butzel, Miss Lizzie Caldwell, Douglass H . Campbell, L. P. Campau, Wm. R. Candler, Mrs. Z. Chandler. D. Carter, Chas. W. Casgrain Mrs. John Chester, W. J. Chittenden, Mrs. Chas. P. Choate, Mrs. T. K. Christie, Mrs. H. A. Clark, H. C. Clark, L. E. Clark, L. H. Clement. Wm. C. Colburn, Edwin F. Conely, D. Congdon. Leartus Connor, D. M. Cooper, I. T, Cowles. A. B. Cram, Mrs, Frank Crandell, John B. Crosby, H. S. Crawford, S. M. Cutcheon, F. O. Davenport, Mrs. B. M. Davis, Geo. S. Davis, C. H. Dickerson, Don M. Dickinson, Geo. Dinewall, John C. Donnelly, H. B. Doty, Adeline Dowling, C. A. Ducharme, Mrs. F. C. Duncan, Mrs. W. C. Duncan, John M. Dwyer, Wm.H. Dwyer, J, B. Dyar, Theo. H. Eaton, Frank W. Eddy. Jas. L. Edson, Wm. H.Elliott, Chas. Endicott Adolph Enggass, Mrs. R. G. Evans, FredE. Farnsworth, Mrs. D. O. Farrand, Jacob S. Farrand, Jr., Silas Farmer, Fred Fayram, H. F. Fechbeimer, Thomas Ferguson, D. M. Ferry, Mrs. Elstner Fisher, M. M. Fisher, John P. Fiske, John P. Fleltz, Ben Fletcher, Chas. T. Fletcher, E H. Flinn, Mrs. Chas. Flowera, W. J. Fowler, A. J. Fox, J. Frankenstein, C. L. Freer, Mrs. H. L. Frue, R. H. Fyfe, J. K. Gailey, James Gamble, R. W. Gillett, R. W. Gillman, Bruce Goodfellow, Jas. S. Goodrich, Miss Nellie Goodwin, E. A. Gott, W. S. Gould H. A Graves, S. B. Grummond, John A. Hager, Mrs. J. H. Hahn, H. A. Haigh, Andrew Hair, J .G. Hamblen, W. P. Hamilton, L. C. Hanmer, Geo. Hargreaves, H. A. Harmon, F. B. Harper, Walter S. Harsha, Gilbert Hart, C. S. Hathaway, W. B. Healey, J. R. Hayes, D. O. Haynes. J. D. Hawks, John G. Hawley, J. A. Heames, Samuel Heavenrich, Simon Havenrich, F. J. Hecker, E. S. Heinman, Geo. M. Hendrie, A. M. Henry, Emil Heyn, Strathearn Hendrie, H. Hitchcock, R. A. Hollister, Hugo Hill, C. W. Hitchcock, Geo. S .Hosmer, 8. W. Hood, Geo. H. Hopkins, Collins B. Hubbard, J. B. Howarth, A. F. Howland, J. I. Hudson, W. H. Irvine, Mrs. David Inglis, Albert P. Jacobs, Chas. H. Jacobs, William F. Jarvis, H. H. Jackson H. L. Jenness, J. S. Jennings, Thos. 8. Jerome, Bradford Johnson, J. HufE Jones, L. H. Jones, C. D. Joslyn, Frederick Joy, Ronald Kelly, Miss Edith Kent, Chas. A. King, Mrs. J. B. King, 246 MUSIC teachers' national association. P.J. Kinnacan, Otto Kirchner, J. C. Kuhn, Mrs. Austin Ladne, Gilbert W. Lee, J. L. Lee, C. H. Leonard, E. L. L«wi8, C.A. Lightner. A. G. Lindsay Wva LiTingstone, Jf, C. E.Lockwood, Geo. H. Lothrop, C. J. Lundy, Eldridge M. Lyon, J. C. McCaul, Lewis A. McCreary, Theo. A. McGraw, Edma McGraw, Mrs. T. S. McGraw, Andrew McLellan, Hugh McMillan, James McMillan, W. C. McMillan, A. McVettie, Kichard McCanley, Edwin F. Mack, Donald Maclean, C. W. Marvin, Fred Marvin, Geo. F. Marx, C. H. Meday, E. W- Meddaugh, Ira A. Metcalf, H. J. Mllburn, Robert Miller. B B. Mitchell, John B. Moloney, Chas. G. Moore. Mrs. H. C. Moore, C. W. Moore, Geo. F. Moore, Wm. A. Moore, J. V. Moran, Wm. D. Morton, J. F. Mount, J. B. Mulliken, Edgar H. Mumford, Samuel R. Mumford, S. T. Murphy, W. H. Murphy, Mrs. Helen H. Newberry, J. S. Newberry, T. H. Newberrr, C. A. Newcomb, Joseph Nicholson, John M. Nicol, C. "W. Noble, H. W. O'Brien, Wm. O'Leary, R. C. Olin, John Owen, Harry E. Palmer. F. F. Palms, H. C. Parke. Arthur M. Parker, W . P. Parker, L. W. Partridge. Robert Pelham, Jr., E. W. Pendleton, W. B. Penfield, Chas. B. Phelps, Oliver Ph' Ips, H. S. Pingree, Samuel E. Piltman, Thomas Pitts, O. M. Poe, Ashley Pond, W. S. Pope, C. H. Preston, Marvin Preston, John B. Price, Geo. W. Radford, Wm. Reid, Geo. O. Robinson, G. W.Ro Vinson, R. D. Robeson, John G. Rumney, Geo. H. Russell, Walter S. Russel, Geo. M. Savage, P. J. SchwankovBkj, Mrs. Daniel Scotten, Oren Scotten, Jas. E. Scripps, S. S. Seefred, Allan Shelden, Mrs. F. B. Sherman, E. S. Sherrill, A. P. Sherrill, O. W. Shipman, F. T. Sibley, Samuel B. Sinclair, Mrs. E. T. Slocum, P. E. Smith, M. S. Smith, Jesse M. Smith, Stanley B. Smith, Frank E. Snow, Geo. P. Spooner, Mrs. H. W. Standart, P. K. Stearns, Mrs. E. W. Stoddard, Roe Stephens,. Henry Stephens, P. B. Stevens, J. B. Stevens, Mrs. W. H. Stevens, Wm. Stridiron, F. W. Swift, Mrs. E. Y. Swift, E. T. Tappev, D. H. Taylor, L. M. Thayer, E. L. Thompson, P. M. Thompson, - Chas. P. Toll, P. N. Tomlinson, R. H. Trayer, John Trix, Mary E. Turner, H. M. Utley, E. C. Van Husan, G. E. Van Syckle, Jas. H. Vhay, W. G. Vinton, Bryant Walker^ E. C. Walker, Hiram Walker, H. O. Walker, Eber Ward, Carl E. Warner, Chas. A. Warren, Homer Warren, J. A. Warren, E. A. WaterfalU J, W. Waterman. C. B. Weir, J. P. Weiss, Wm. H. Wells, Wm. P. Wellfl, Emory Wendell, Frank S. Werneken, Geo. C. Wetherbee, D. Whitney, Jr., Herschel Whitaker, A. E. F. White, H. K. White, E . W. Wiggins, R. C. Wilby, Harry R. Williams, Larned Williams, Mrs. A. S. Williams, N. G. Williams, N. G. Williams, jr:, W. C. Williams, Fanny H. Wingert, Richard Storrs Willis, Frederick Woolfenden, CM. Woolley, Mrs. Chas. Wright, Henry Wunech, American Express Co., Bassett & L'Hommedieu,. J. H. Black & Co., Chas. Bobzin & Co., J. E. Bowles & Co., A. A. Brown & Co., Breckenridge & Evarts, Burnham, Stoepel&Co., O. B. Cook & Co., Detroit City Glass Works, Eagle Iron Works, H. D. Edwards & Co., Farrand, Votey & Co., J. B. Field & Co., Geo. H. Gies & Co., Golden Eagle Cloth'g House Gourlay Bros., Grinnell Bros., Geo. Hadzsits & Co., Hudson & Symington, Keenan & Jahn, King, Klugh & Co., Mabley & Company, McDonald Bros. & Co., M. Maier & Co., Michigan Malleable Iron Works, Geo. Moebs & Co., Moore & Moore, B. G. Morris & Co., Newcomb, Endicott & Co.y Paige & Strachan, Pardridge & Co., Rasch & Kiesling. Rasch & Reckmeyer, T. B. Rayl & Co., Roehm & Son, H. S. Robinson & Co., Rolfhoven & Co., Sinclair, Evans & Elliott, P. G. Smith Sons & Co., L. A. Smith & Co., W. & J. Sparling, Taylor, Woolfenden & Co., SPECIAL CONTRIBUTORS. 247 Traub Bros.. Van Eet & Gravep, R. Wagner & Co., Henry C. Weber & Co., W N. Winans & Co., Williamson, Ingram & Griggs, Winterhalter & Son, Chas. Wright & Co., Wright, Kay & Co., SPECIAL CONTRIBUTORS. F. P. Anderson, John Breitmeier & Son, Levi L. Barbour, J. C. Batchelder, W, C. Colburn, Calvert Lithographing Co., Chittenden & McCreary, Carr & Reeve, W. H. Ellis, Wm. H. Elliott, R. H. Fyfe & Co., E. T. Hance, J. H. Hahn, F. W. Hayes, Geo. H. Gies Sa Co., Mabley & Co., G. &R. McMillan* Co. Newcorab, Endicott & Co. V. C. Parke, C. J. Reilly, F. G. Smith Sons «& Co., A. A. Stanley, F. J. Schwankovsky, Van Kst & Graves, Wright, Kay & Co. POPULAR SONGS) 'iri|Mi||lili|||inii|l'H|M|'!i'l|'il)i]|M||li|n|l|ii| BY C. A. WHITE. "MARGUERITE," "MADELINE," "ONLY TIRED," "THOU ART AN ANGEL," "MARIE," "TELL ME, SWEETHEART," (Song and Chorus), "LEONORE," "FAYORITA." ETC., ETC. Also many of the most valuable and latest books of the popular Composer and Teacher, .... Dr. H. S. PERKINS, .... INCLUDING "MODEL CLASS BOOK," "CLIMAX," "FESTIVAL CHORUSES,'' "HEADLIGHT," "GOOD TEMPLAR," "SONG INDICATOR," (and Male.Quartets), "FROG CHORUS," "SHE SAID SHE'D BE MY BRIDE," "THE STORM," and "TENDER AND TRUE." Music Teachers will find it for their interest to trade with us. SEND FOR A COMPLETE CATALOGUE TO J. M. HiMELMAN, Manager. STEINWAY. GRAND PIANOS. DPRIGHT PIANOS. The recognized Standard Pianos of the world, pre-eminently the best instrument at present made, exported to and sold in all art centers of the globe, preferred for private and public use by the greatest living artists, indorsed, among hundreds of others, by 8uch as: RICHARD WAGNER, FRANZ LISZT, ANTON RUBINSTEIN, HECTOR BERLIOZ, FELICIEN DAVID, CHARLES GOUNOD, AMBROISE THOMAS, THEODORE THOMAS, A. DREYSCHOCK STEPHEN HELLER, ADOLPHE HENSELT, ALFRED JAELL, JOSEPH JOACHIM, RAFAEL JOSEFFY, MORIZ ROSENTHAL, CONRAD ANSORQE, THEODORE LESCHETIZKY, FRANZ RUMMEL, A. MARMONTEL, WILLIAM MASON, S. B. MILLS, J. MOSCHELES, ALBERT NIEMANN, NICOLA RUBINSTEIN, CAMILLE SAINT-SAENS, ANTON SEIDL, W. TAUBERT, RUDOLPH WILLMERS, CARL BAERMANN, CARL WOLFSOHN, AND BY M BSD AMES ANNETTE ESSIPOFF, ANNA MEHLIG, MARIE KREBS, ADELE AUS DER OHE, ADELINA PATT], ETELKA GERSTER, TERESA TITIENS, PARE PA ROSA, MINNIE HAUCK, EMMA JUCH, Etc., Etc. Illustrated Catalogues Mailed Free on Application. STKINWAY SONS, Warerooms, Steinway Ball, 107--Hi East 14tli St., NKW YORK. MANUFACTURERS OF fiRAKD, UPRIGHT — p | A N O S — ™ SQUARE UNEQUALLED in Tone, Touch, Workmanship and Durability. LETTERS FROM THE WORLD'S GREATEST PIANISTS : VON BULOW. D'ALBERT. BOTH DECLARE THE KNABE THE BEST PIANOS IN AMERICA. VON BULOW'S LETTER After Concert Tour, 1890. To Wm. Knabe, Esq.. Baltimore: Dear Sir, — My renewed and by more use — under aggravating circum- staaces, as bad health and tiresome travelling — enlarged experience of your Pianos this (second and last transat- lantic) season has throughout con- firmed myself in the opinion I expressed last year, viz. : That sound and touch of the Knabe Pianos are more sympa- thetic to my ears and hands than sound and touch of any other Pianos in the United States. As I met with frequent opportunities of establishing compari- sons between the Knabe Pianos and instruments of rivalizing or would- rivalizing producers. I dare now add that I declare them the absolutely best ■in America. With sincere regards, Yours truly, Dr. Hans von Bulow. Hamburg, 27th May, 1890. EUCEN D ALBERT'S LETTER TO Wm. Knabc Co. {Translated from the German.^ During my sojourn here I had fre- quent opportunities to make myself acquainted with the Knabe Pianos, and from fullest conviction I declare them to be the best instruments of America. Should I return here for artistic purposes — which may be the case very soon — I shall most certainly use the pianos of this celebrated make. I give this testimonial with pleasure, voluntarily, and entirely unsolicited for by the house of Knabe. EUGEN D'Albert, New York, May 16, 1890, WAREROOMS: Baltimore, 22 & 24 E. Baltimore St. New York, No. 148 Fifth Avenue. Washington, No. 8I7 Pennsylvania Avenue. DECKER BROTHER ^ ■ I PIANOS Have slqown thenqselves so far superior to all others in Beauty of Tone, Elasticity of Touch, Excelleqce of Worknnanship, aqd Great Durability, that tl^ey are earn- estly souglqt for by all persoqs desiriqg THE VERY BEST ^<^'X PIANO. CAUTION All genuiqe Decker Piaqos Iqave th.e following qame (precisely as \\ere slqcwq) or| the piaqos above the key St. SEND FOR ILLUSTRilTED CflTllLOGUE. U/ar^rooms ; 33 iJijioi) ^^uare, ffeu/ Yorl(. Mason & Hamlin UPRIGHT GRAND AND PIANOS Remarkable,— for musical purity of tone. Unexcelled, — in finish and action. 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THE CAPACITY FOR TONE COLORING, WHICH THET TIND IN THE MILLKR GRANDS appears to give those who use these now famous instruments an advantage which they do not obtain in other pianos ; A FEATURE in the piano manufacturing of to-day which is ATTRACTING UNIVERSAL ATTENTION. CATALOGUES SENT FREE. \\((T)ry p. f[\i\\((r 9 5095 Piapo Qo. BOSTON, MASS. Branch Honse, Philadelphia, Fa. THE PROGRESSIVE A. B. CHASE PIANO. Do you realize that the latter part of the 19th century is the most wonder- ■£ul era of progress in inventive skill ever known? Do you know that the thing that stood without a rival but yesterday, is equalled to-day, and surpassed to-morrow? Do you know that the A. B. CHASU PIAMO has come with rapid •strides to the very front rank, and to-day stands unsurpassed? That's so; and with exalted ideals and relentless ambition, the manufac- turers propose it shall remain at the head of the column. Conservatories of Music are now using large numbers of these instru- .ments. Students will use no other Piano when they can get an A. B. CHASE FIAl^O. " The National School and College of Music," Chicago, used the A. B. 'CKAS£ PIA]li€> exclusively the past year. For descriptive Catalogue and Net Prices, address LYON, POTTER & CO. Agrents for Illinois, Iowa and Wisconsin, "Or the manufacturers, THE A. B. CHASE CO., NORWALK, OHIO. IF YOU WANT A GOOD PIANO SEE THE CELEBRATED MEHLIN: • GRADE • PIANOS. MANUFACTURED BY FACTORIES IN INEW YORK AND MINNEAPOLIS, OFFICERS M. A. PAULSON, Pres't. H. PAUL MEHLIN, Vice-Pres't. PAUL G. MEHLIN, Gen'l Sup't. A. M. SHUEY, Sec'y. C A. STICKLE, Treas. I ?^ l>IRGCTOBl». Got. J. S. PILLSBUEY. THOMAS LOWRY. CHAS. R. CHUTE. CHAS. L. TRAVIS. ROBERT T. LANG. 1 The Mehlin High-Grade Pianos Contain more Valuable Improvements than all others, viz.: The Patent Grand Plate, The Patent Bessemer Steel Action Frame, The Patent Grand Fall Board, The Patent Endwood String Bridge, The Patent Piano Muffler, The Patent Touch Regulator, The Patent Finger Guard, and the Patent Cylinder Top and Tone Reflector. The only company in the United States having two independent factories in the East and West, and supplying from each factory high-grade pianos peculiarly adapted to the atmospheric influences of its section. SEND FOR HANDSOME ILLUSTRATED CATALOGUE. CEIiTURY PIANO COi¥iPANYp Manufacturers ot the Mehlln High-grade Pianos. Hew York Factor), Warerooms and Offices! 461, 453, 4G5, 40/ West 4fltti Street, corner lOtli Avenue' Minneapolis Offices and Warerooms i Ceotur) Hall, Cor, Fourtli St. and First Ave., South, Minneapolis Factory: Cor. Main. Bank and Prince Streets. HE^ ORLEANS, 1885/ ■GOLD MEDAL.-^^MELBOURNE, 1889. BEHR BROS. PIANOS. GRAND Upright STANDARD INSTRUMENTS OF DNEQDALLED EXCELLENCE. XAVER SCHARWENKA. CONRAD ANSORGE. Dr. HANS VON BULOW. ARE ENDORSED BY " Answers every requirement in regard to tone and touch as fully as can possibly be expected oi an instrument constructed in the year A. D. i8go." "At the recent concert of the N. Y. State Music Teachers* Association at Saratoga, it stood the supreme test and can proudly take an equal position with any other piano." " Your instruments in general merit my approval, of Behr Bros. & Co. are deserving of success. " The firm MORITZ MOSZKOWSKI. " An instrument that recommends itself in the first place by a most pleasing exterior ; in a far higher measure however by its musical qualities. The tone of the grand is exquisitely musical and is well balanced in all the registers. The touch has an agree- able firmness notwithstanding its lightness, and this seems to be brought about by the correct adjustment of the several mechanical parts. " S. B. MIL.L.S, HOmER N. BARTLETT, GONZAL.O NUNEZ, Mme. de SAL.AZAR, OTTO HACKH, SIL.AS G. PRATT, F. H. DANIELS, J. H. ROSEWALD, CARL. Etc. BEHR BROS. & CO., Warerooms : BEHR. BROS. HALL, 81 FiKOi^H AvKNUE, Nkw York. Illustrated Catalogues mailed, on application. While you're about if why not get a Piano that will stand the every-day wear and tear— year in and year out— one that has been tried and found not wanting ? Probably you wont feel like buying an- other in a year or two, when yovve found out your error. You can get a Weber, Wheelock, or Lindeman of us at first hands, for you re buying from the manufacturers direct Don't buy what you don't want be- cause it's cheap. MANUFACTURERS' PIANO GO. 24S WABASH AYE., CHICAGO. STECK, IVERS &. POND, CONOVER BROS., COLBY, SMITH & BARNES, AND JEWETT m IK PIANOS! Cash or on Time. Old Pianos and Organs taken in Exchange. AYERS & WYGANT CO., Reeds' Temple of Music. 182 & 184 Wabash Ave., - CHICAGO. LOCATED IN THE NEW (^HK^^QQ ATHENEUM 18 to 26 Van Buren St. Best Advantages. TWENTY-FOUR TEACHERS. 50 Partial Scholarships Given to talented and deserving pupils, if properly recommended. l>EPART]llESrTS : Piano, Voice, Harmony and Musical Composition. Methods or Teaching, Sight SiNSfNG, Violin, Flute, Cornet, Banjo, Guitar, All Orchestral Instruments, Elocution, Delsarte, Languages, Oil Painting, Etc Illustrated, Instructive Catalog Mailed on Application to H. S. PERKINS, Director. SPECIAL NOTICE.— The four weeks'' Normal Summer Se8siojwwiU'J)egin Monday, July 20,'91, The Fall Term for 1891 commences September 14. The College Year^has four terms of ten weeks each. Send for Perkins Catalog of Singing School, Choir, Public, School and Conven- tion Choral Books and Prices. THE l^latioQal QoQS^ruatory of OF AMERICA, 126 aqd 128 ^ajt lytl^ Str^^t, p/eiu YorK. Incorporated Septembbr 21, 1885. INCORPORATORS. -MKS. AUGUST BELMONT, MRS. RICHARD IRVIN, Jr. MRS. WILLIAM T. BLODGETT, MRS. FRANCIS B. THURBER, MRS. THOMAS W. WARD, WILLIAM K. VANDERBILT, AUGUST BELMONT, WILLIAM R. GRACE, ANDREW CARNEGIE, RICHARD IRVIN, Jr. WILLIAM G. CHOATE, HENRY G. MARQUAND, JOSEPH W. DREXEL, JESSE SELIGMAN, PARKE GODWIN, FRANCIS B. THURBER. OFFICERS. President, MRS. JEANNETTE M. THURBER. Treasurer, RICHARD IRVIN, Jb^ Secretary, CHAS. INSLEE PARDEE, A.M. FACULTY. SiNQIHG. Principal of Vocal Department— Signor R. Sapio. Miss Eleanor Warner Everest, Mme. Elena Corani, Mr. Christian Fritsch, Mr. Oscar Saenger, SignopR. Sapio. Opera Class— Signor R. Sapio. Oratorio Class— Mrs. Beebe Lawton. Ensemble and Operatic Chorus— Mr. Gustav Hinrichs. Piano. Mr. Rafael Joseffy. Miss Adele Margulies, Miss Jessie Pinney, Miss Elinor Comstock. Miss Mabel Phipps, Mr. Leopold Winkler. Mr. J. G. Huneker, Organ— Mr. Samuel P. Warren. Harp— Mr. John Cheshire. Violin. Mme. Camilla Urso, Mr. Leopold Lichtenberg. Mr. Jan Koert. Violoncello— Mr. Victor Herbert. Contrabass— Mr. Ludwig Manoly. Flute- Mr. Otto Oesterle. Oboe— Mr. Arthur Trepte. Clarinet— Mr. Joseph Schreurs. Bassoon— Mr. Rudolph Renter. French Horn— Mr. Albert H. Hackebarth. Cornet— Mr. C. Sohst. Harmony. Mr. F. Q,. Dulcken. Mr. Alberto Frencelli. Counterpoint ano Composition— Mr. Bruuo Oscar Klein. SOLTEGGIO. Monsieur J. Pizzarello, Miss Leila LaFetra, Monsieur Auguste Perrot. Chamber Music— Mr. Edward Heimendahl. Orchestra— Mr. Frank van der Stucken , Chorus— Mr. Frank van der Stucken. History of Music— Mr. Henry T. Finck. Elocution and Diction — Mr. W. V. Halt. Italian— Signor Pietro Cianelli. Stage Deportment- Monsieur Mamert Bibeyran. ..Fencing— Monsieur Regis Senac. Accompanist— Sig. Ernesto Belli , Repetitburs. Miss Grace Povey. Miss liucille DuPre, Miss Carrie Konigsberg, Miss Adelaide Okell, Miss Margaret Beere, Mr. Harry P. Guy. CHICAGO CONSERVATORY, "SSjr « Faculty and Branches, Season 1891 Piano. Mr. Wm. H. Sherwood, Director, Mr. Calvin B. Cady, Mr. H. A. Kelso, Jr., Miss Gertrude Foster, Miss Julia Caruthers, Miss Edith V. Eann, Miss Kate P. Richards. Vocal Music. Signor Vittorio Carpi, Miss Grace Hiltz. flight Reading. Mr. CalTin B. Cady, Miss Grace Hiltz. Org^an. Mr. Clarence Eddy, Director. Violin. Mr. A. Rosen becker, Mr. Richard Seidel. Violoncello. Mr. M. Eichheim. Karp. Miss Clara Murray. Flute. Mr. Otto Helms. Cornet. Mr. John Quinn. Mandolin. Sig. C. Talisi. «}uitar. Miss Lulu Hiltabidel. Harmony, Counterpoint, Composition and Orchestration. Mr. Frederic Gram Gleason, DirecVr Mr. Hubbard W. Harris. Foreig:n JLaasuages. French, German, Italian, Spanish. By Native Teachers. Dramatic and Poetic Readins- Mr. Samuel Kayzer. Elocution, Delsarte, The- ory of ISxpressioB and Physical Culture. MiBB Anna Morgan, Miss May Don- nally, Mrs. Ida Serven, Miss Sarah. Truax, Mr. E. L. Dworak, Mr. Samuel Knecht. Dramatic Art and Stage Training. Mr, Hart Conway. Dancins. Miss Laura Rose. Feneing. Col. Thoa. H. Monstery. Fall Term opens Monday, Sept. 14, 1891. Address all communications to (SAMUKKi KAVZEB, Director. Frederic Grant Gleason, TEACHER OF piaqo ^ O^gan piafing, HARWIOWY , COUNTERPOINT, FUGUE , Free CoDipsition & Orcliestratioa THE AUDITORIUM. Room 84. HARimONYAND MUSICAL THEORY BY MAIL A SPECIALTY. mi . . . THE . . . . NATURAL TEETH . . If you would keep your Health, Youthful and most Pleasing Facial Expression. This is Easily and Pleasantly done with this the only Perfect Dentifrice. THE RESULT OF TWENTY YEARS CAREFUL INVESTIGATION. MANUFACTURED DR, E. L. GRAVES, 7 LAFLIN STREET, - CHICAGO. SOLD BY ALL FIRST-CLASS DRUGGISTS, ESTABLISHED 1874. DETROIT CONSERVATORY OF HDSIC. BOARD OF INSTRUCTION. J. H. Hahn, F. H. Pease, J. C. Batchelder, A. A. Stanley, Chae, E. Piatt, Fred. L. Abel, William Luderer, Julius V. Seyler, Fritz Ramm, Chas. Komrofski, Emil Speil, Miss Kate H. Jacobs, Miss Agnes Andrus, Miss Margaret W. Wiley, Mrs. S. E. Pittman, Miss Lena McMaster, Miss Alice Andrus, Mrs. Ida Norton, Mrs. Emma A. Thomas, Mias May Leggett, Miss May Porter, Miss Ida Vogt. The Faculty consists of well-known instructors, graduates of the most celebrated institutions of musical learning in Europe, including the Royal Conservatories of Leipzig, Dresden and Stuttgart; the Kullak and Scharwenka Music Schools at Berlin; the Raff Conservatory at Frankfort, and the Liszl Class at Weimar. Also personal students with such eminent masters as Moscheles, Haupt, Liszt, Reinecke, Plaidy, Kullak, Raff, Ehrlich, Moszkowski, Scharwenka, Raif, Urspruch, Max Schwartz, E. F. Richter, Bargiel, Kiel, Ferd. David, Roentgen, Rappoldi, Herrmann, Cossman, Marchesi, Stockhausen, Scharfe, Fleisch, San Giovanni, et al. The course of instruction in every department is systematic and complete, aiming at the Highest Standard of Artistic Skill and Excellbnce. The end sought to be attained is a Thorough Musical Training in whichever branch the student engages, whether as a means of Self-Culture, as an Accomplishment, or for Professional PUBPOBES. The Conservatory having an excellent String Quintette at its disposal, offers unrivaled advantages for the practice of ensemble or concerted playing, embracing CONCERTOS, TRIOS, SONATAS, Etc., of the Classic and Modern masters, requiring the aid of one or more instruments. Particular attention is given to instruction in Harmony and Theory of Music, and its study is earnestly recommended. The lessons in Harmony and Ensemble Playing- are made prominent features, and together with the Orchestra and Chorus Classes are FREE to all pupils of the institution. Certificates are furnished upon application at any time, containing an exact and specific statement of the acquirements possessed by the student. Diplomas are awarded upon finishing the prescribed Course of Study, and passing an examination equivalent to the Demonstrative Fellowship and the Theoretic Associate- ship Examinations of the AMERICAN COLLEGE OF MUSICIANS. Advanced students have abundant opportunities for public performances at the Conservatory Concerts which occur frequently during the season, and to which pupils and their parents are admitted free. Students are fully prepared for Concert Playing on all instruments; also for Church, Oratorio and Concert Singing, and for the Operatic stage. Weekly rehearsals or entertainments are also given, to which only pupils are admitted, and in which pupils of all grades take part, thus affording means of acquiring confidence and self-possession. Pupils can enter at any time, although it is desirable to have applications made at or before Term Commencement. Sj Students from abroad will be furnished with a list of carefully selected] boarding places, in private families, upon application to the secretary. For further information, address J. H. HAHK, Director, 40 West Fort St. Detroit, Mich. NOTICK Mr. John Towers, pupil of Giro Pinsute, London, and Theodor Kullak and Adolph B. Marx, member of the Sing-Akademie, Berlin; author of "Let Children Sing," "Modern Singers and Singing," etc.; •director vocal department, School of Music, Indianapolis, is prepared to LECTURE on the following subjects, with or without vocal and instrumental illustrations: " HOW TO SING." "MODERN SINGERS and SINGING." "MUSIC AS A FACTOR in PUBLIC WORSHIP." ENGLISH GLEE and MADRIGAL WRITERS." ^'THE FIVE MUSICAL GIANTS: BACH, HANDEL, HAYDN, MOZART and BEETHOVEN." Address : School of Music, INDIANAPOLIS, IND. ]^ Brotherhood Technicon For the Perfect Development of the Hands and Arms in the Study of the Piano, Organ, Violin, Etc. QUESTIONS OF IMPORTANCE TO PIANO PLAYERS. Why continue to teach under old-time method, with its nerve-wearing influences upon yourself and pupils, when recent research has produced a new method which gives better results in much less time, combined with a gradual accumulation of physical strength, instead of continual nervous exhaustion? Has not sad experience taught you the little results obtained (compared with time expended) iii the development of the hand for the necessities of piano playing, by technical exercises at the piano? Are you aware that this slow process has been abandoned by hundreds of eminent teachers, as being behind the genius of the age, and that they are obtaining results by the new method (both in their own practice as well as in the advancement of their pupils), far in excess of those obtainable by old methods, besides making their teaching easier and more interesting? Is it not probable that pupils will leave the old-method teacher for the new, when quick progress with less labor is gained by the change. For further Farticulars, write to tT. Howard Kootr, 307-309 Wabash ve., - - CHICAGO. $.BItAIHARD'SSONCO. Jobbers and Importers of American and Foielgn fflusic, 145 and 147 Wabash Avenue, CHICAGO. WM. LEWIS MDSIC CO. 18» A 184 Wabash Ave. ARTISTS' VIOLINS FROM THE BEST MAKERS IN THE WORLD cremona' VIOLINS Joachim and Italian Strings a Specialty. GUITARS, BANJOS;ftCCORD10NS FLUTES, HARMONICAS, ETC. BAND INSTRUMENTS . 'PAGAN/N/ FRQNIftSKETCH BY FINE ITALIAN VIOLINS NEW AND OLDi SEND FOR PRICES. ESTABLISHED 1857. JULIUS BAUER & CO. PIANO MANUFACTURERS x: 1 CO w o E a < sic Q- Ql UJ < _E CQ T3 cS a> «J WE OFFER UNUSUAL INDUCEMENTS TO TEACHERS, CONSERV- ATORIES AND SCHOOLS. Factory, 89 to 97 E. Indiana St. - CHICAGO. Warerooms, 156 ATID, Secretary. V. St. UAVID, Oireetor. LOUIS H. FRELIGH, - ^PROFESSOR OF MUSIC, ^ Studio, 3038 Magazine St., - - ST. LOUIS, MO, Treasures for Teachers FOR SCHOOL MUSIC TEACHBB8. SONG MANUAL— Complete Course in Music Reading. By L. O. Emerson. Book No. 1 each 30c. ; per doz. $3.00 "2 " 40c.; " 4.20 " 3 " 50c.; " 4.80 UNITED VOICES— Song Collection. By L. O. Emer.f on. ea., 50c. ; doz., $4.80. rOR HIGH SCHOOLS. SONG GREETING. By L. O. Emerson. A good book with the best of music. 60c. $6 doz. PGR PIANO TEACHERS AND THEIR PUPILS. Easy music. Young PlayersTopl'r Coirn.51 pes. ; Young People's Classics, 52 pes. ; Popular Dance Collection, 66 pes. ; Fairy Fingers, 36 pes. Medium Difficulty. Each, $1 00. Classical Pianist, 42 pes. ; Piano Classics, Vol. I, 44 pes.; Piano Classics, Vol. II, 31 pes.; Sabbath Day Music, 38 pes.; Classic 4-hand Collection, 19 Duets; 0[)eratic Piano Collection, 19 Operas. Choir Leaders use large quantities of our octavo music. 7000 different Sacred and beeular Selections, Glees, Quartets, An- them ?, etc. Price, generally not more than 6 to 8 ots. per copy, and a few dimes buy enough for a society or choir. WIDE AWAKE CHOIRS, Chorus Societies and all Musical Associa- tions will do well to send for lists and cata- logues of our Chorus, Anthem or Glee Books, Church Music Books, Singing Class Books, Oratorios, Cantatas, Quartets, Chorals, Octavo Pieces, etc. JEHOVAH'S PRAISE. ($1, or $9 per doz.) Emerson. Is a large, first-class Church Music book, full of the best Metrical Tunes, Anthems and Singing Class Ele- ments and Music. Emerson's Easy Anthems. (80c., $7.20 doz.) Gabriel's New and Selected Anthems. ($1, $9 doz.) Emerson's New Responses. (60c. $6 doz.) Dow's Responses and Sen- tences. (80e., $7.20 doz.) Santoral. ($1, $9 doz.) Palmer and Trowbridge. Are new and thoroughly good books. CARL ZERRAHN'S ATLAS. ($1, $9 doz.) EMERSON'S CONCERT SELECTIONS. ($1, $9 doz.) Are excellent for conventions. ANT BOOK MAILED TOR RETAIL PRICB. OLIYER DITSON CO., BOSTON. C. H. DiTSON & Co. J. E. DiTSON & Co. 867 Broadway, 1228 Chestnut St. New York City. Philadelphia. Lyon & Healy, Chicago. ^ WKST ® HOTKL, ^ MINNEAPOLIS, MINN. At the great National Musical Convention to be held in Minneapolis in the Summer of 1892, the head-quarters will be at the West Hotel. This hotel has accommodations for more than eight hundred guests, having two hundred and fifty rooms en suite, with bath, besides having a large number of single rooms at greatly reduced rates. Rates can be made from three dollars per day upwards, according to size and location of room. In connection with the hotel are a series of Turkish, Russian, Electric, Vapor, Shampoo and Swimming Baths. The Cuisine and Attendants in the hotel are equal to any in the United States, and the prices considerably lower than in any hotel of its class. The building is comparatively a new one, and is thoroughly fire- proof, 80 that the pleasantest rooms are those closest to the top of the building, where the air is purer and a guest is free from noise and dust. Descriptive circulars, containing an account of the hotel, will be cheerfully forwarded on application. CLAYTON F. SUMMY, / m Music # PuUister.*^ Importer, (Steinway Warerooms of Lyon, Potter & Co.) 174-176 WABASH AVE. ^I^iea^o, III. SPECIALTIES: TAe Catalogues of G. Schirmer, New York; Arthur P. Schmidt, Boston; J. M. Russell, Boston; Edw. Schtiberth (Sr" Co., New York^ Novella, Ezver 6^ Co., London and Nezv York; the Foreign Popular * Editions of Classical and Modern Music, and the better class of For- eign and American Publications in general. AQENT FOR THE Virgil Practice Clavier A SILENT PRACTICE PIANO. Send for Descriptive Circulars and Price Lists. Fine Stationery Department EPISTOLARY, WEDDING AND INVITATION STATIONERY. HURD'S, CRANE'S AND WHITING'S FINE PAPERS. STEEL PLATE ENGRAVING, STAM PI NG and E M BOSSI NG © © VISITING, CONDOLENCE, MEMORIAL AND REGRET CARDS. ENGRAVED AND PRINTED WEDDING INVITATIONS AND ANNOUNCEMENTS. PORTFOLIOS, LEATHER CALENDARS, SEAL DRESSING CASES. 245 & 247 STATE STREET, Near Jackson, CHICAGO. CHICAGO. MILWAUKEE & ST. PAUL RAILWAY. Electric Lighted and Steam Heated Vesti- buled Trains, with Westinghouse Air Signals, between Chicago, St. Paul and Minneapolis daily. Through Parlor Cars on day trains between Chicago; St, Paul and Minneapolis. Electric Lighted and Steam Heated Yesti- buled Trains between Chicago, Council Bluffs and Omaha, daily. Through Vestibuled Sleeping Cars, daily, between Chicago, Butte, Tacoma, Seattle and Portland, Ore. Solid Trains between Chicago and princi- pal points in Northern Wisconsin and the Peninsula of Michigan. Daily Trains between St. Paul, Minne- apolis a-.d Kansas City via the Hedrick Route. Through Sleeping Cars, daily, between St. Louis, St. Paul and Minneapolis. The finest Dining Cars in the World. The best Sleeping Cars. Electric Reading Lamps in Berths. 6100 miles of road in Illinois, Wisconsin, Northern Michigan, Iowa, Minnesota, Missouri, South Dakota and North Dakota. Everything First-Class. First-Class People patronize First-Class Lines. Ticket Agents everywhere sell Tickets over the Chicago, Milwaukee and St. Paul Railway FINANCIAL KEPORTS. 271 JFINANCIAL REPORT OF THE EXECUTIVE COMMITTEE. RECEIPTS. Patrons' Subscription Fund $4,790.00 Membership Fund 1,076.00 Single Course and Single Admission Tickets. . 548.00 Proportion receipts from extra Thomas Concert 550.50 Special Contributions 310.00 $7,274.50 DISBURSEMENTS. Theo. Thomas Orchestra $4,500 President's appropriation 200 Printing and advertising 644.86 Chorus expenses, inc'd'g music, staging, etc. 564.43 Stenographers, clerks, etc , 258.20 Committee expenses 177.39 Hall rent, ticket sellers, ushers, etc 558.50 Stationery, postage, telegrams, incidentals, 263.19 $7,166.57 Cash Balance sent the Secretary, 107.93 $7,274.50 $7,274.50 J. H. Hahn. ) A. A. Stanley. [-Executive Committee. F. H. Pease. ) 33xamined and found correct. E. S. Sherrill. ) S. S. DeLano. V Local Auditing Committee. J. C. Batchelder. ) SECRETARY'S FINANCIAL REPORT. RECEIPTS. To Balance $ 6.76 Memberships 1,732.00 *' Sale of Reports and Books 10.85 " Cash from Executive Committee 107.93 " Advertisements, net , 407.25 $2,264.79 Deficiency 189.23 $2,454.02 DISBURSEMENTS. By Printing $ 580.06 Postage 338.43 *' Typewriter and Desk, appropriation 107.50 " Miscellaneous 52.00 Secretary's appropriation 600.00 " Committees and V.-P.'s Bills 81.03 ^' Twenty-five hundred Reports 695.00 $2,454.02 Audited to July 4, 1890. H. S. Perkins, Sec'y. TREASURER'S REPORT. Amount on hand from Life Memberships and Contributions to the O. and C. C. Fund $869.16 W. H. Dana, Treasurer- CONTENTS. Address of Welcome, by James B. Angell, L.L.D 7 President Parsons' Kesponse 9 President's Address, by Albert Boss Parsons 11 Secretary's Report, by H. S. Perkins 21 History of Piano-Forte Teaching, by James H. Howe 24 A few thoughts on Piano Teaching, etc., by Chas H. Jarvis 30 Woman in Music, by Fannie Bloomfield Zeisler SS American Composition, by John S. Van Cleve 45 The Scientific Study of Music, by Waldo S. Pratt 51 The Organ, by A. A. Stanley 56 Early Organs in America, by Sumner Salter 61 American Composers, by Frederic Grant Gleason 71 Orchestral Composition, by Johann H. Beck 79 Musical Composition in America, by C. L. Capen 85 Past, Present and Future of Vocal Art in America, by Edmund J. Myer 90 Vocal Music in America, by Jules Jordan 96 Progress of Vocal Art audits Future Prospects, by Emilio Belari 98 Elementary Musical Education, by W. F. Heath 103 The Psycology of Music, by Theo. F. Seward 108 Discussion by Dr. Field and others 114 The Relation of State and National AslBociations, by N. Coe Stewart 120 Need the State and National Associations Injure the M. T. N, A.? by Johannes Wolfram 125 Supplementary Paper, by William Wolsiefcer . . 132 Elements of Success Pertaining to Musical Instruction in Public Schools, by Benjamin Jepson 134 Music Instruction in our Public Schools, by P. M. Bach 142 Discussion 147 Secretary's Official Report 152 Congratulatory Remarks, by Hon. Don M. Dickinson, of Detroit 159 Address of Governor Cyrus G. Luce, of Michigan : 160 President Parsons' Response 161 Report of Committee on the President's Address 164 Treasurer's Financial Report 172 Secretary's Financial Report 173 Vice-President's Condensed Reports 175 Board of Vice-President's Proceedings 186- Report of the Church Music Commission 193 Church Music Register's Report 195 Philosophical Relation of Church Music to Public Worship— Secretary's Report 201 Report of Committee upon National Methods— Vocal Section 208 Correspondence 211 Constitution 215 Founders, or Charter Members 225 Life Members and Address List 226 Advertisements ; 247 Financial Statement 271 £BBATUM. In the Advertisement of John M, Himelman, Manager, there should be added the firm name: — WHITE-SMITH MUSIC CO., 5 and 6 Washington Street, CHICAGO. SEE PAGE 247.