Schools and Within the last decade a great change in musical instruction in the schools has resulted from the recognition by educationists throughout the country that music in the schools must be more than another type of disciplinary study; above all, in the insistence by the pedagogic leaders of the move ment on the use of better musical material and a larger number of songs before beginning tech nical drill. They also point out the possibility of cultivating original art power among gifted pupils by allowing scope for individuality, and of developing the more conscious sympathetic aspects of the children's singing by allowing them to take part in musical festivals and con certs for the general community. In most of the larger communities throughout these States it has become customary to hear good music, ranging from simple unison songs, light operas and cantatas to the great oratorios creditably performed in the large auditoriums and parks by the children from the public schools. There are even orchestras and bands in some of the schools. These are able to assist at concerts with choruses of children; and churches, thea tres, clubs and private individuals are seeking, and even coinpeung against each other, to unite with the schools. Elgin, Ann Arbor and Day ton have already given remarkable offerings at low prices. Another step in advance has been made by the recognition by the schools of private instruction in music and by granting credit to pupils for work done outside. The public high schools, with the colleges and uni versities, are also allowing the courses taken with accredited music schools and private in structors to count for admission. A large number of high schools practise chorus singing and maintain musical appreciation classes; and certain of the more progressive offer instruction in the technique of music, in solo-singing and in instrumental work. In Richmond, Ind., for instance, the teacher of public school music was engaged on condition that he devote half time to municipal music. In Wisconsin there is a popular movement to create by law a city social centre where the musical and other recreations of the people may be more com pactly and more intelligently controlled than under the present haphazard system, or lack of system. It has been proposed that com munity directors be appointed from among prin cipals of high schools and officials of like standing, with a definite salary for each office.
For a very large proportion of the adult population church music includes practically all the serious music which they are in the way of hearing, and carries the one com plete opportunity for chorus singing. A num ber of churches, recognizing the fact, are deal ing with the situation from its many points of view; and some are very wisely opening their doors to good secular work, in the lighter as well as the heavier vein,— operettas, pageants, etc. The American Guild of Organists has nobly responded to the call for wider activity. The church choir is in some districts doing much of the work formerly sustained only by the choral society; these choirs being found to have more influence upon the community than the work of the soloist. A number of churches, both in this country and abroad (as in "Amer ica's Musical Shrine" at Bethlehem, Pa., and at Worcester Cathedral, England, where fes tivals of music have been annual events for nearly 200 years), have generously cultivated the love of song and instrumental music.
Specific Organizations.— Early in the last quarter of the 18th century the Stoughten (Mass.) Musical Society, which still flourishes,
was founded by William Billings, a tanner by trade, an eccentric and a music teacher of some genius. This energetic man gave a healthy impulse to popular music that is yet felt. About the same time the excellent Handel Society of New Hampshire was organized; and the year 1807 saw the foundation of the Massachusetts' Musical Society. On 8 Jan. 1792, at Medfield, Mass., the "father of music in America,' Lowell Mason, was born. To him we owe our best ideas in the promotion of music among the masses. He pointed the way to a higher order in church music, introduced music into the public schools, popularized class chorus singing, spread the art of teaching music on the rational inductive plan and established teachers' conven tions and institutes. He died in 1872. In vari ous corners of New England musical festivals with large choruses and orchestras, formed from small choral societies of neighboring towns, are held regularly. Two typical instances of these are the concerts at Conobie Lake Park by a chorus of over 300 singers from four nearby towns,— Lowell and Lawrence, Mass., and Manchester and Nashua, N. H.,— under the direction of Eusebius G. Hood; and the Litch field Country Choral Union at Norfolk, Conn. (originally, in 1897, the Norfolk Glee Club; and united with the Litchfield, Torrington and other local organizations in 1899, with a total membership, in 1914, of 677), conducted by Richmond P. Paine, and promoted and housed by the generosity of Mr. and Mrs. Carl Stoecicel.
- Scattered widely over the country, a num ber of cities and towns of small size have lately come into prominence and have sometimes astonished critics of high standing with their general musical activity, and, particularly, with performances of the (Messiah,) the
Places of Amusement.—While the Amer ican citizen is a generous spender on concerts and all other forms of musical activity, the status of musical taste and ability is generally admitted to need advancement. Audiences are characterized as being too good natured and too careless of standards. That the leaders of music in our numerous communities are creat ing a warmer and more spiritual understanding between themselves and their audiences is the most hopeful of all signs. Even in unexpected quarters the people have been shown invari ably to follow a good lead. At the New York Rialto Theatre, a vaudeville and motion picture house, music of a high standard was lately tried with such success that the orchestra soon be came the chief feature of the performances.