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Show I, . state Music Teachers ! wtablishcd In Illinois. ;cct of the Msoctatlon is o profession of musio State, and do away with r of incompetent teachers the public money. 5 for such an association 33 forcibly shown to the s ago, A younsr lady was eU.odS of her teacher. ; a large clientele and a as a teacher of the ha3 bcecn impossible to this reputation Is based, s have failed to unearth Vho have ever done "'Soman's methods were pftcUy-cnsy to undor-novcr undor-novcr achieved any remould re-mould have been very had. The "method" con-l con-l nupll a piece of music a nlav it. No attempt Is proper preliminary work, told to practise scales, o player was ever made. ?or tho lingers, which n xcearlly stiff and awlc-r awlc-r hand is so natural y ; piano that I hardly need so many scales L The whole "method" t of Bitting by a iMi-rrcctlnc iMi-rrcctlnc tho wrong notes "niece.' And for this has tho audacity to on. no lesson exceeding le ought to bo protected ,f thine There are so nothing- of musio ami am. They have to take r own valuation. The iey advortlso themselves ;Cn as evidence that they are talking about. No aking a lawyer unless titled to the bar of the-the the-the State Why should tho competent ones, of many In Salt Lake, get out this evil from their vll whlcludocs tho good Innocent Vjffer for the ichers as the lady de- object In the "method" ;y wish to create an lm-pupll lm-pupll of tho number of taught them In a short th this superficiality of no groundwork, no real j'it must be ungallantly asserted il cox that this unscrupulous taking cfv lfts mostly among the women Hn, Tho men who depend upon tho i!rg of music for their living have ail some method, even thouch some im mftboda may be poor. They aro ccadentlous to take good money for b that they are unable to deliver, fcdj-ft lhe$e women would bo horror-&a horror-&a If they were told that they are it coney and not giving "value real" re-al" They think, as the general pub-lao, pub-lao, that because thoy have such and ;t i diploma from some conservatoire fhyla?, that thoy are necessarily Kti to teach. But any musician who n anything knows that performing teaching aro two very different P- Heter Goddard's Death. Da death of Ileber Sutton Goddard, icccarrcd In thl9 city early Thurs-EsnlBg, Thurs-EsnlBg, the profession of which ho ul-onored member suffered a dls-tbiaand dls-tbiaand the community was bereft u ollta most popular singings. Ever e Us tarly boyhood Mr. Goddard had a a deep interest In music, and had AA the best years of his life to a !r of the dlvlno art- For years no Seal ere.it given by local artists was fM to ba complete unless he took Latdithen ho finally decided to still is Inprove his talents by a few ft of tcdy abroad, his friends know ,ouM win recognition in foreign u ho had at home. In this they "t disappointed, for wherever Mr, art appeared he won the plaudits of rtarri and the praise of tho critics, relars looked bright Indeed for him U3 untimely death has caused sln-Homtr, sln-Homtr, not only among musicians, f-eople at large. j Gd Work by Children. 0,llh i.he price of admission r other show that comes here," U wy one lady described tho enter- by tho lltUo tots nt the Grand t, nent. The work of the St. lMkI!!?i..0.St' ry's cathedral IJfc httlilablc' Tho training of the Wmr nas been sound and careful. Ptfr ulult church choirs IKr -rve.l.hal mht have attended in wuld havo learned some-iKi some-iKi v,ne homo Wsar. Due credit W Cn 10 M,Pa Oleason for the C(fZ0Ul ,of lhe little ones. The Rf&W8 comI'sed of tlie fol-KV-wwt; sPrans Misses Clara 5XJTlte??lr,c,t' Ethel Col-&ari Col-&ari "pff1' Gertrudo Dcderlch. iaSJorenc? Locke. Kather-Wt Kather-Wt frll -nSL8tc,co"d1,soPranos, Misses Ka Anniresa,De11- Grneo Geary HTror: rst altos, g-- Jc-nklnson, Martha Coleman; Rosemary Holland, Eleanoro Heringcr; second altos. Misses AVIlmctta. Cahoon, Europa Davi, and Bcsslo Caplnger. Husic in the School. Of Immediate Interest to all musicians Is tho subject of a musical course In the public schools. Tho Springfield high pchool has made a moro thorough experiment experi-ment than any other. Tho results seem to havo been excellent. As tho pioneer In this kind of work the school has been applied to for suggestions to other schools meditating a course of similar character. Tho importance attached at-tached to tills successful experiment in a new and difficult Held was shown by iho Invitation given by the Massachusetts State Board of Education to descrlbo tho Springfield method at a convention of tho ; school supervisors of Massachusetts hold yesterday under tho auspices of the board at Jacob Sleeper hall, Boston university. Miss Mary L. Regal represented the school, and read a paper, entitled "Music analysis In tho Springfield high school," which brought out a suggestive general discussion. Another phaso of tho samo subject wns discussed bv the teacher of music in the Cambridge high school, In a paper entitled "Technical music In secondary secon-dary schools." In explaining the nature of tho Spring-Held Spring-Held course Miss Regal remarked that It Is called "music analysis" Jor lack of a moro exactly descriptive title. It Includes at once less and more than what tho musician understands by analysis. There is a certain amount of such annlysls of a rather elementary sort, but It Is combined with ear-training, tho elements of harmony, har-mony, esthetic appreciation, a little biography, biog-raphy, etc . making a course difficult to characterize In a single phrase: "This course Is specially designed to bo useful to thoso who havo not, and do not expect to have, any technical proficiency. It Is intended to cultivalo such a knowledge nnd love of music as shall enrich the mental men-tal and emotional nature Just as a knowledge knowl-edge and love of literature or painting or nny other of tho line arts docs." In the first place, tho object kept in mind Is "to glvo tho pupils famlllorltv with some of tho mnstcrpleces of music. Thero is no reason why a student of high school age should not wander with delight in the paths of tho Unfinished Symphonv as well as in those of tho Forest of Arden." Immediate Im-mediate and conspicuous results must not bo expected: "Culture Is a plant of solw growth, and cannot bo forced. Constant association with the best that has been thought and said In the world is the only means of acquiring culture In music as In other subjects." i-'erhaps tho most Important question to bo answered by such experimental work ns has been dono In the Springfield high school is, How much can be done in this direction In the limited time available, two periods a week for forty weeks, devoted de-voted to careful listening, with needed explanations, and plenty of repetition? Tho Held to be covered is very large, .and the pupils of dlvorso attainments and talent. tal-ent. Some arc prepared for tho Handel largo, who find the scherzo of tho Erolca beyond them; Mendelssohn's "On Wings of Song" delights many who arc not readv for Schumann's "Etudes Symphonlques." Both mental and physical training are needed to enable tho pupils to enter this new world. "They must learn to hear, must reallzo that listening Involves somo effort on their part." This Is perhaps tho teacher's most difficult task, so unused Is the ordinary young American to genuine listening, or to music which requires careful care-ful attention.' The speaker might have added that all music of a cheap and ephemeral sort, the coon song, the comic opera ditty, whatever Is so obvious that lt.appeal only to the superficial faculties, weakens the power of nttcntlon. Just as tho habit of reading trash weakens the ability to find pleasure In serious and pregnant books. A four-years' course has been planned for the Springfield high school, but thus far, only two years of It have been given. In the first year tho pupils get a general notion of the different kinds of music, with the different types of musical form as a basis, with abundant and varied Illustrations. Illustra-tions. The second year's work Is moro specialized, being devoted to piano and song literature The third and fourth years as projected are devoted to chamber music, and orchestral and choral works. To some extent these departments are already al-ready represented In tho first year's work. The plan of Introduction is something like this: At the first lesson the nature of musical struction Is shown by taking a familiar hymn or song and showing how It naturally falls into divisions and subdivisions, sub-divisions, with repretltlon and contrast which give the pattern variety and unity. From tho song the transition is easy to a simple theme without words, such as that of the Schubert Impromptu In B fiat or of the variations from Beethoven's sonata In A fiat. In all cases the title of the composer aro given very carefully to the pupils, who are expected to remember remem-ber them: "This is one of the hard things Tor the class. They seldom forget whether a given work has or has not been heard In the class-room, but many have great difficulty In remembering what It Is and who wrote it." This experience. It may be remarked, throws somo light on the extent of tho acquisition of people who depend entirely on occasional concerts for their musical education. Frequent repetition Is an absolutely Indispensable factor, because be-cause of tho limitations of tho average memory. From tho simple song-form the courso goes on to include tho variouB types of dance-form, the sonata, tho rondo, the fugue, etc., and the variations of these. Tho aim is not detailed technical analysis, but such appreciation of repetition and contrast, rhythm and modulation, as enable en-able tho pupil to listen intelligently, whether ho can classify a work exactly or not. Form is taken ns tho basis of study, but the "content." tho musical significance sig-nificance of a work. Is considered at the samo time: "There Is no way of expressing express-ing music except by musical mcan3. Sometimes Some-times words can interpret It moro or less by suggestion, but the elaborato verbal Interpretations by which tho unmusical expect the Inner meaning of music to bo revealed to them, havo little value. Tho object of this course Is to help pupils to appreciate music directly." Among tho examples taken for study In the first year wero mentioned tho following: Thcmo and variations from Sonata in A Mozart Minuet Bocchcrlni Cavatina Raff Variations from quartet in D minor Schubert Nnchtstuck in F Schumann Sonata Pathetlquo Beethoven Barcarolo Chopin Symphony in B minor Schubert Tho Eaglo MacDowell March Wind MacDowell Tho Brook MacDowell Overture to "Midsummer Night's Dream" ....Mendelssohn All these and the othors aro played upon up-on tho piano, tho only Instrument available avail-able except when somo singer or player of a stringed Instrument visits tho school to play to tho classes. The preparation of the music is an exacting part of the teacher's work, and It Is to be noted that there Is no correspondence between caso of appreciation and case of performance. Somo of the most difficult compositions arc special favorites. It Is not always possible to tell In advance what tho classes will like best, and. Indeed, classes vary u good deal, but there is never a fniluro "to respond to tho Chopin Black Key etudo or the funeral march from tho Beethoven sonata In A fiat, to select two widely varying examples. It Is to bo understood un-derstood that all the works given arc prepared as though for a recital programme, pro-gramme, and played aa a rule without notes. The programme of work Is loft sufficiently flexible to tnko advantage of local conditions, and when an Important concert Is to be given the prograrumo Is studied in tho classroom In order that the pupils may be able to approclatc the concert con-cert better. The high school course of concerts, suspended temporarily on account ac-count of the unusual number of other musical mu-sical attractions, was established prl-marllly prl-marllly to give tho hlj;h school a chance to hear good music us a small cost. This music-hearing is accompanied by a3 much ear-training, Instruction in chords, etc., :ih thero is time for. Tho second year's courso varies from year to year, after the same plan as courses in lltcraturo. This year tho topic has been Schumann and Chopin, two very different contemporaries, whoso music Interests In-terests classes greatly and glvea an opportunity oppor-tunity for comparison. Among tho Schumann Schu-mann works studied have been tho Fan-toslestuecke, Fan-toslestuecke, opus 12. the "Scenes from Childhood," part of the "Album." the F sharp romance, tho Nachlstueck in F, tho Novoletto in B minor, tho Paplllons, opus 2. and tho Camavnl, op. 9. From Chopin tho list Includes tho three lmpromptua. tho scherzo In B fiat minor, many of tho preludes, and half a dozen of tho etudes. Theso havo all been played a number of times, with mere or less critical study, and the themes of somo of them have been copied by tho clnss: "The attention of tho pupils Is called to the struction and hnrmony of tho works, their beauties arc dwelt upon, things which aro specially characteristic are noted, comparisons aro mado between different compositions, and different composers. Most important of all, the works aro played often enough to enable the pupils really to know them Tho pupils are encouraged to express their opinions and ask questions, to toll what they like or do not like, and why, If they can." Sometimes a bit of genulno criticism, criti-cism, striking at the heart of tho matter. Is elicited, sometimes there is a discouraging discour-aging blankless beforo somo beauty that would seem perfectly evident. Tho address ad-dress closed with a hopeful but not extravagant ex-travagant statement of -what may bo expected ex-pected from work of this kind. The time for study is limited to the brief school period, and of courso only a small part of the children in tho public schools can bo reached. Yet every year a considerable number of students aro sent out from hlph" schools who havo reallv learned to appreclato and understand good music, and In this way tho leaven of culture Is being diffused through tho general public. Music ITotes. After tho Canadian engagement, ITenrv W. Savage's English Grand-Opera company com-pany will go to Rochester for a week, and then will visit Toledo, Detroit, Columbus, Indianapolis, Cincinnati. Washington and Baltimore before starting on Its Southern South-ern and Western trip to the Pacific coast, when Salt Lake is to be visited. t Two American artists. Lillian Nordlc. and Edyth Walker, havo within a week astonished the audiences at the Metropolitan Metro-politan opera-house. New York, by their fiuent delivery of fiorld Italian arias, the one In "La .Gloconda," tho other In "Lu-crezia "Lu-crezia Borgia." Mine. Nordlca had on other occasions proved that she Is mistress of Italian as well as Gorman song, but In the case of Miss Walker the revelation came as a pleasant surprise, as she has been looked on as a dramatic singer par excellence. Both these artists arc following the example of Lllll Leh-mann. Leh-mann. That wonderful singer owed her success as an interpreter of Wagner largely to tho fact that sho had previously pre-viously learned to sing Bellini, Verdi, and Mozart. Wagner himself, in his scheme for a music school in Munich ("Gesam-melte ("Gesam-melte Scrllten." vol. Sj. recommended such a method of procedure, and ho would have been tho first to chide the many ambitious girls who today refuse to study the older music on the score that It is antiquated, and who want to begin their careers aa Isolde or Brunnhlldc. Miss Marie De Rohan, the prima donna soprano whom Henry Wolfsohn will Introduce In-troduce to America In an orchestral con- cert in Carnegie hall, Now York, this week, when sho is to havo tho assistance of Walter Damrosch and his Now York Symphony orchestra, Is an American girl who received her early musical training train-ing in this city. It was upon tho advice of Anton Soldi that sho went to Paris, where sho studied with Dr. Raoul Andre, An-dre, with a view to going upon the operatic stage. Later she went to Rome and Florence, where sho studied the puro accent of tho Italian language. After somo tlmo spent In Italy she, returned to Paris to resume her studies under Dr. Andre. Then followed her debut in Queen's hall, London, under the patronage of the Dowager Lady Frankc, which was a most successful ono. Important orchestral orches-tral and oratorio concerts followed, not only In London, but In other cities of Great Britain as well. Including appearances appear-ances In tho Leeds and Birmingham festivals fes-tivals and with' tho Llvorpool Philharmonic Phil-harmonic society. After two seasons In England she returned to Paris to prepare for her operatic debut, which sho mado in that city. Then followed a season in NIco and also at Monto Carlo, and next spring sho Is to make hor operatic debut In England, at Covent Garden, London, |
