Music, Education and Community in Nineteenth-Century Kansas

DOCUMENT RESUME

ED 219 172 RC 013 458

AUTHOR Haack, Paul A.; Heller, George TITLE Music, Education and Community i eteentn-Century Kansas: Euterpe, Tonnies, and the Academy on the Plains. Country School Legacy: Humanities on the Frontier. INSTITUTION Mountain Plains Library Association,, Silt, Colo. Country School Legacy Project. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. PUB DATE 82 NOTE 60p.; Pages containing music will not reproduce well.

EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Acculturation; American Indian Education; Catholic Schools; Cultural Interrelationships; Curriculum; *Educational History; Educational Legislation; Elementary Secondary Education; Higher Education; Immigrants; Music; Private Education; Public Education; *Rural Education; *School Community Relationship; Teachers IDENTIFIERS *Country School Legacy Project; *Kansas; Mission Schools

ABSTRACT Music, education, and community and the interactions among these three factors in Kansasduring the 19th century offer an opportunity to study the role and function of music educationin a sociocultural context. From 1824-1899, 16 Catholic missions were opened in Kansx4.1or American Indians. These schools usedmusic as an adjunct to acadexiqc instruction, religious indoctrination,and acculturation. Beiore statehood in 1855, most white settlers' children went to subscription schools. After statehood, white immigrants flooded into Kansas, pushing most American Indians off their land, eliminating all but two missions. The twomissions which remained did so by opening their doors to white students and by becoming institutions of higher education. With statehood also came the establishment of public schools, guidelinesfor district board, in the hiring of teachers, and standardized curriculawhich emphasized Americanization. In addition to legislation in 1870urging music education in the schools, communities were affected byrail transportation, which brought musicians into the state. Country schools were maintained by the community and utilized by the community for celebrations of everything from federal holidays to trivial local events. Singing was a big part of communityactivities, which were often highlighted by the local band or orchestra presentations. (AH)

*********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. **********************************************************w*********** COUNTRY SCHOOL LEGACY: Humanities on the Frontier

MUSIC, EDUCATION, AND COMMUNITY IN NINETEENTH-CENTURY KANSAS: EUTERPE, TONNIES, AND THE ACADEMY ON THE PLAINS

"PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY

. 1 Paul A. Haack L L 0 UkfItzi (:)icci., George N. Heller (-It

TO THE EDUCATIONAL RESOURCES The University of Kansas INFORMATION CENTER (cRIC)" Lawrence, Kansas

1982

Funded by the National Endowment for the Humanities U S DEPARTMENT DP EDUCATION ,, NATIONAL INSTITUTE OF EOUCATION EDO( ATIONAL RESOURCES INFORMATION Sponsored by the Mountain Plains Library Association CENtER IfkiC flouhrht,t /ht' htishetthatprImilof Offa y rpre.I.,1trot",the' person or ontartqw,,,N orlIttntltinq It Minor r Ntht4hs hay., Neon Old itto tt110,),P IfprOdtf 111.1ritit,

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MUSIC, EDUCATION, AND COMMUNITY IN NI TEENTH CENTURY KANSAS

EUTERPE, TONNIES, AND THE ACADEMY ON THE PLAINS

Paul A. Haack

Professor

and

George N. Beller

Associate Professor

The Department of

Art and Music Education

and Music Therapy

311 Bailey Hall

The University of Kansas

Lawrence, Kansas 66045

(913) 864-4784 COUNTRY SCillooL LEGACY ADmintsTRATME STAPP Proles Dietrich Andrew Out Monk Colorado Mountain College/Mb Elementary School Mk Colorado Media Direcior Randall Tesuwen Phew° America Port Collins. Colorado Exhibits Director: Berkeley Lobanov Denver. Colorado Elm ad Agent Joseph Edelen I. D. Weeks Library University of South Wines Vermilikin, South Dakota

4 COUNTRY SCHOOL LEGACY: HUMANITIES ON THE FRONTIER The Mountain Plains Library Association is pleased to be Involved In this project documenting the country school experience. Funding of this project from the National Endowment for the Humanities. cost sharing and other contributions enabled us all to work with the several state-based Humanities Committees as well as many other Mate and local libraries, agencies and interested citizens. We are-deeply, impressed not only by the enthusiasm for this work by all concerned but by the wealth of experience brought to bear in focusing attention onand recapturingthis Importas it pert of history and how we got here. This project seems to identify many of the roots and -charac ter formation" of our social. political and economic institutions in thewest Already the main Project objective seems to be met. stimulating library usage and Increasing circulation of historical and humanities materials In this region Public interest is rising In reffional. state and local hiseory.Oral himorvprograms are Increasing with greater public participation. The sturlyol genealogyand the search for this informationis causing much Interest In consultingand preservinghistorical materials What has been started here wit nix end %% I th this project. The Immediate results will tow the entire legion and be available for any who wish the program. almond exhibit There will be more discussion ofand action onthe Issues involving the humanities and public policies. peas and present. The Mountain Plains Library AssociatkA isproud to he a partner in this work. the Country School Legacy and itscontribution to under standing humanities on the frontier Joseph 1 Anderson Nevada State Librarian Past President Mountain plains Library Association

BEST COPY AVAILABLE 1

MUSIC, EDUCATION, .AND COMMUNITY IN NINETEENTH-CENTURYKANSAS

EUTRERPE, TONNIES, AND THE ACADEMY ON THE PLAINS

The nature of music, education, and community and the interactions

among these three factors in Kansas during the nineteenth century offer

an opportunity to study the role and function of music education in a

sociocultural context. Following the work of the sociologist Ferdinand

Tannies(1855-1936), community (gemeinschaft) isdefined as a small

group of people who share location, values, strong kinship ties, and

strong feelings of unity. Community isalso characterized by close interpersonal relationships, informal control of social deviance, and family-centered social life. This concept of community is in contrast with the term association (gesellschaft) which implies a large population of strangers, impersonal and temporary relationships, social control by formal (usually legal) means, and the like.

Whilemusicand educationalso have roles and functions in gesellschaft, this study is primarily concerned with music and education as they relate to gemeinschaft or community. A major aspect of this concern has to do with the manner in which music and the early schools contributedto Americanization on the frontier -- to "melting pot" enculturation by which gemeinschaft was enhanced.

Kansas communities during the nineteenth century provide a diverse collection of ethnic, religious, and economic groups fora study of this 2

sort. Early in the century, the State was populated by tribal struc-

tures of indigenous and immigrant Indians. From 1824 to the Civil War,

several different Christian denominations attempted to evangelize the

Native Americans through missions and mission schools. After 1854, many

groups from the eastern United States and from foreign countries settled

in relatively small communities throughout the State. This settlement

process was greatly accelerated after 1870 with the development of an

extensive rail transportation system. One of the by-products of this

accelerated settlement was the rise of associations or gesellschaft-type

groups and the beginnings of conflict with gemeinschaft-type groups.

Music, education, and community of the sort that are being inves-

tigated here are difficult to study because they tend to escape pre-

servation in documentary form. The instances which are available mays

well be exception because they left such evidence. It cannot

therefore be assumed that this paper presents a representative sample of

music, education, and nineteenth-century Kansas communities, but rather

that these examples are illustrative of certain patterns of relation-

ships between the three elements which are the subject of the study.

Such is the nature of historical research; no history can be written

without evidence, and 1rocesses beyond the historians' control naturally

limit the evidence available.

Schools as Educational and Community Centers

Mission Schools

As early as1824, Indian mission schools were established in the

Kansas territory. The first was the Presbyterian mission to the Osage

in Neosho County. The Catholic mission to the Osage in the same county

was the last to close in 1895. During that seventy-year period, sixteen 3

missions offered schooling in the territory and state. The first Osage

mission endured for only five years, while the finalone lasted for

forty -eight years. The median duration of the sixteen missionswas

twelve years, and the average size was twenty-five students.'

When compared with the missions in the southwestern United States

and in Latin America which preceded them bya century or more, the mis-

sions of Kansas made feeble efforts at music education with few results.

Like Fray Pedro de Gante in Mexico City and other Franciscans inthe

southwestern United States, the missionaries tried touse music as an

adjunct to academic instruction, religious indoctrination, and

acculturation. They produced a few musicbooks--mostly hymnals in

Indian languages. They taught "round notes" and probably used a rote- note technique for most teaching.2

Most=of the mission schools closed within a dozenyears of opeqng, and none had very many students for a very long time. The missions were not well supported by parent institutions and churches in the eastern

United States or in Europe where the social and cultural values they were trying to teach originated. The few successes achieved were over- whelmed by territorial expansion pressures after 1855 and byevents cf the Civil War. After 1855, white immigrants flooded into Kansas, pushed most of the Indians off their land, eliminated the missions, and closed the schools. The twoschools which survived--the Iowa Presbyterian

Mission in Highland and thePottawatomiCatholic Mission inLinn

County--did so by opening their doors to white students andby becoming institutions of higher education.3 4

Subscription Schools

The first white settlers to form communities in Kansas were concerned most immediately with establishing a corn crop, a dwelling place, a church,L,a9A, a school. Often the same facility served as a church, school, and a community center. Beforestatehood and legislation brought some degree of organization and continuity to the educational process, "subscription" schools were most common.4 These were organized by a teacherin the immediate community,who was supported by the subscription of $1.00 to $1.50 per month per child by the parents of the pupils.5

There were usually three terms of three months each, with two weeks of vacation between terms. However, teachers were hired by the term so that a child might have as many as three per year.6Texts were brought to school from home, being whatever had survived the emigration process, thus the curriculum was diversified indeed. The first subscription school in Lawrence (1855) was held in the back office of Dr. Charles

Robinson. Dr. Robinson had been a member of The New England Emigrant

Aid Society, a leader in the antislavery movement, and was to become the first governor of the state of Kansas. The teacher in this first school was E. P. Fitch, who also served in the "Old Band." It is not known whether Fitch taught usic in the subscription school, but it certainly is a possibility give, his dedication to music in community activities outside the schoo1.7

The Coming of Statehood and Public Schools

When the first territorial legislature met at Pawnee in 1855, it adopted guidelines for the establishment of schools and school districts within each county. The guidelines were based on the Missouri school 5

laws of the time and were adoptedas statues by the pro-slavery legis-

lature. Section 1, Article 1, Chapter 144 reads "there shall be estab-

lisheda common school, or schools,in each of the counties of this

territory, which shall be open and free forevery class of white cit-

izens between th' ages of five and twenty-one years." When anti-

slavery forces gained control of the legislature in 1858,the earlier,

Missouri based statutes were replaced withones modeled after northern

rather than southern systems. Hence they read not just "white citizens", but "white or colored citizens."9

While subscription schools were often housedin parts of resi- dences, shops or outbuildings, the public schools usually hadtheir own buildings, often put up by loca4 patrons of the schools. The school houses were constructed of sod or logs in some early instances, butmore often of native limestone or milled lumber. Those built in the last third of the nineteenth century average twenty feet by forty feet in size, with three or four windows on each long side. They were modestly equipped with benches, desks and a blackboard along the short back wall.

The teacher's table or desk restedon the platform in front of the board. The round black stove resided in the middle of theroom, and in the more affluent districts--particularly those where the school doubled as church--a pump organ might be found. The schoolhouse had either one or two doors, depending on the degree ofsex segregation desired by thecommunity. Finally,the little red schoolhouse was relatively unknown in Kansas; those thatwere painted were almost always white. Generally plans, specifications, and other building information were available from the State D'partment of Public Instruction. Each new county was divided into school districts so that no school would be 6

over three miles from another. In many counties a hundred white frame or native limestone school houses would occupy cornerswhere section roads crossed.

From 1870 to 1100 the population of Kansas nearly quadrupled. The average daily attendance in public schools in 1900 was664 percent of the 1870 figure. The number of school districts roselrom 2,068 in 1870 to 8,927 in 1900, and the number of teachers went from 2,240 to 11,513 in that same period. In almost every category in which statistics were kept, 1900 figures are from four to six times their 1870counterparts."

Probably the major reasons for these dramatic increases were related to the effect of the railroads upon settlement of the State. From

1870 to1890,fifty-eight new counties were established as immigrants from the eastern United States and western and central Europe arrived in large numbers. After 1890, most of the land was occupied, and all the present counties were organized. In many ways the period from 1870 to

1890 resembles the period from 1950 to 1970, and the 1890's in Kansas lookvery similar to what the 1980's might hold for the Nation as a whole. (Se Figures 1 and 2.)

The names of the new schools and districts were frontier poetry.

Some were inspired by the animals: Dog Hollar, Buzzard Roost, Crow

Hill, Possum Hollow, Wildcat, Poor Puss, and Snake Den; some were in-

spired by faith: Mt. Carmel, Mt. Hope, Church, Dunkard, St. John, and

Good Intent; some were inspired by the land and vegetation: Rose Valley,

Frog Pond, Flint Rock, Dry Creek, Elm Slough, and Cottonwood; some were

in honor of people--mostly local people: Cora, Jenkins, Clime, Fegnier,

Clark, King and Pardee; and finally there were all the "Pleasants" and

other assorted rarities: Pleasant Hill, Pleasant Valley, Pleasant Ridge,

Pleasant View, College Hill, Bonaccord, Barefoot Nation, and Chicago. 7

The Public School Teachers

Teachers had to be as adept at handling logand coal stoves as at

handling children and curricula. The 1855 legislature provided guide-

lines for district boards in the hiringof teachers. Candidates had to

prove their good moral character, their abilityto teach over a dozen

subjects atthe various grade levels, and their abilityto manage a

school and maintain appropriate discipline.12

Certification examinations became the standardmethod of demon-

strating teaching ability, though theywere loosely administered during

the early days of statehood. By 1876, three levels of certificateswere

available 40 good for periods ofone to three years. While an eighth

grade education often qualifiedone to teach in the first decades of

statehood, the tradition of continuing educationforteachers was

present from almost the outset as well. Instituteslasti.ig from a

couple of days to a week were held in allof the larger communities, and

these carried over into the twentiethcentury.

During the latter half of the 19th Ctury the publicschool teach-

er was often a young, unmarried lady of local origin. If she survived

the work of teaching and discipliningher four to forty pupils (a few of

whom might be older than she andin attendance only when unable to work

the fields), she quickly becamea respected and influential member of

the community. More often she married within the firstyear and left

The Curriculum and the Melting Pot

In 1861, school law required the teaching of orthography,reading, writing, English grammar,geography,arithmeticif desired,and any 8

other local district options." Within several decades most curricula

also included American and Kansas history, Literature, various kinds of

mathematics, agriculture, physiology and hygiene "with special reference

to the effects of alcoholic stimulants andnarcotics."14 (See Figure 3)

The curricula and curricular materials emphasized Americanization,

though most of the settlers of Kansas were already "Americans" by the

time they arrived. Kansas, being located in mid-continent, did not

=receive many waves of fresh immigrants. Most came from the New England

and upper midwestern states. Still,somegroupsof Czechs, French,

Germans, German-speaking Russians, Swedes and Mexicans did arrive di-

rectly from foreign soil. Most of these people cooperated readily and

willingly with the Americanization process, though tw other groups, the

native Indians and the German Mennonites tended to resist.ls

The Mennonites establisfed many of their own German church schools

to maintain their own traditions and avoid total absorption into Amer-

ica.communities. Attempts at Americanization ofthe Indians were

initiated at the aforementioned mission schools. According to Teddy

Roosevelt, Americanization wasto perform a very useful function by

weakening the tribal sentiment, increasing the tendency to speak En-

glish, and both stimulating and rewarding the laudable ambition of the

best Indians." However, the lack of understanding and willingness to

compromise in the face of the vast cultural differences which separated

Indian and white made the Americanization-assimilation efforts of the

schools and communities futile in many instances. By the 1870s, most

Kansas Indiantribeshadbeen moved to Oklahoma,and most mission

schools were closed or closing. Meanwhile, back at the public schoolhouse, the melting-pot theory

was being carried on in fact, and with a high degree of success. The

seed to unify a diverse population in face of the harsh realities and

dangers of a frontier life was virtually self-evident. Community soli-

darity forsurvival took priority then,even ascurrent priorities

reflect the valuing of individual and cultural diversity. Nowhere were

the nineteenth century frontier community values better exemplified than

in the McGuff_y readers and in the songbooks which were employed in the

schools (see appendix instroduction and materials).

Schools as Community Centers

Frontier schools were by their very nature and circumstances of

existance at the core of community life. The immediate community was

responsible for the planning and erection of the schoolhouse and subse-

quently forits maintenance. The men ofthe community kept up the

exterior whilethe women maintained theinterior. Aside from such

personal investment, the few larger community centers--that is the few Ns

towns in each county--were generally too distant and inaccessible for

the majority pf the population most of the time. Thus everything from

national holidays to the most trivial local events were celebrated at

schoolhouse and/or in the school yard. Community meetings of all

typestook place there. Attimes marriages and funerals took place

there. Some schools were the locus for regular church services; and

'virtually all schools served as voting sites--though never during church services,thus preserving due separation of church and state (for the

times at least).

School-church-community Thanksgiving, Christmas and Easter programs were commonplace on the schoolgrounds. The last-day-of-school dinner 10

was a true community event, as were other f_od-laden occassions such as box socials and cake walks. These often doubled as fund raising events and provided the means for schoolrepairs,additions, new interior furnishings, or playground equipment. Adults and children from a di.- trict often had ball teams, and played teams from neighboring districts.

Sewing bees and literary clubs also used the schools regularly.

Dances, concerts, plays, traveling lyceum circuit programs, and political meetings were allon the school calendartoo. Even the scholastic sounding monthly parent-teacher meetings tended to be more social than business oriented with community people of all ages showing up for talk over milk, coffee, cake and pie. Thus the public school was the essence of gemeinschaft in nineteenth century Kansas.

Music in Education and Community

Music Education in 19th Century Kansas

Music was not a state-mandated part of the curriculum in Kansas schools prior tothe twentieth century; nevertheless,a considerable amount of music education took place. Formal lessons for the purpose of developing vocal orinstrumental performance skillsweregenerally provided by private teachers or music "professors" in the community--or by a family member with some musical experience. While a considerable amount of singing was carried on in many schools, the learning and use of songs was generally incidental to other matters and events.

Asthe population increased so dramatically from 1870 to 1900, teachers in general--and music teachers in particular--began to organize their efforts. As the organization of teachers and the standardization of curricula, materials,and oth raspectsof education progressed, local autonomy tended to give wa ostate-wide conformity. The Kansas 11

Educational Journal,the Kansas State Teachers' Association, and the

State Superintendant'f. Public Instruction were three forces which tend-

ed to promote a ge"ellIchaft in place of the previously established

gemeinschaft in education and in music.

The Kansas Educational Journal brought news, announcements, adver-

tisements, and opinion toteachersall acrossthe state from 1863

through 1900. Columns about the proper aims, methods, and materials of

education were written by Kansas teachers and others from beyond the

state's borders. An example of the type of writing that appeared was

Alice L. Norton's 1870 article on the problems of teaching music in the

public schools. In a tone suprisingly similar to contemporary writers

on music education, she attacked the use of music by inadequately train-

ed teachers in conjunction with other subjects:

In our anxiety to derive the utmost benefit from this deli- cious fountain of knowledge, some of us have dashed recklessly intothe singing mania,in a style that has horrified all subsequent masters of our precious pupils.... We have shouted outthe capitals of the several several states in an ear- splitting chorus that perhaps injured some of the sweetest and most delicate voices, we have chanted the rivers and lakes through our noses, and proved our patriotism by twisting the multiplication tablesintothe tune of Yankee Doodle....17

Similar assertions by both Kansas teachers and nationally recognized educators tended to influence the course of education toward state-wide, and even nation-wide norms.

The Kansas State Teachers' Association met annually in convention for the purposes of sharing ideas about teaching and organizing advocacy for education in the state. It was typical for teachers to read papers ontopics of common interest, togive demonstrations of innovative techniques or materials, and to endorse resolutions advocating various courses of action. 0- 12

The first resolution to deal directly with music education in the

Association wasmade in 1870. It urged superintehdentsand school boards to support instruction in music and art in all Kansas schools.18

Similar resolutions were proposed in1873, 1886, and-1897. Most of these statements were supported, with the exception of the 1886 resolution which recommended a statutory requirement td teach vocal music in the public schools." While teachers generally supported music educao tion, they lid not want curriculum mandated by the State Legislature.

The State Superintendent of Public Instruction was a third centra- lizing force in education which tended to emphasize gesellschaft over N.4 gemeinschaft. Th./ publication of courses of study, the sponsoring of teachertraining institutes,and the certification of teachers were three principal ways of asserting common ideals across the state.

As early as 1871,the Superintendent published a course of study which was organized according to students' reading abilities. In that document, students who were in the first reader were supposed to have vocal music instruction "three or four times a day, and from three to five minutes each time."20 In 1896,a much more detailed course of study for music listed goals and objectives at each level through the eighth grade.21

Thus, while music was not regarded as a "basic" in the sense of

"readin', writin'and rhythm," it soon was recognized as a basic in a more direct,functional sense. It was employedas a socializer to engender a community spirit of oneness and belonging in the students

(and during the weekend or evening activities, it did the same for their eldersas well). It was employed as a means of enculturation to the

"American way of life" for the ethnically diverse populations found on 13

the frontier. It was used as an entertainment, as an enjoyable change

of pace from other kinds of school activities. Often it was used as a

symbol of validation--to officially open the school day,a meeting or a

ceremony with a song. And at other times it was simply used to accom-

patty a march around the classroom, which during cold weather was done \. not so much for rhythmic activity as in an effort to keep the students'

feet from freezing. Thus music, probably less for aesthetic purposes

and more for functional reasons, found itsway into frontier country

schools from the earliest of times.

Teachers tended to play, sing, and/or teach music according to

their individual abilities. As early as the 1860's teachers' institutes

encouraged special attention "to the science of music."22 Singing as a

part of daily opening exercises wasso common asto be virtually a

standard part of the curriculum. However, beyond that point, the quan-

tity and quality of music activityinthe schools ,varieda great

deal--mostly with the abilities of the teacher.

Prior to the second or third decade of the twentieth century,very

few teacher preparation programs gave much if any attention to music

education. If the nineteenth century school teacher had not developed

skills or taken lessons on his or her own, heor she simply would pot

have much to offer the ,students in the way of music instruction. At

times, however, such circumstances were alleviated by the contributions gl4 of musically experienced people in the community. Occasionally even an

older student, possibly someone who had had the opportunityto take some

lessonsfrom a "professor" (private music teacher), wouldassume re-

sponsibility for some music activities in the school.

4." 14

While most of the early music instruction centered on vocaland rhythmic activities, small instrumental groups were assembled and incor- poratedintoschool programs on occasions when opportunity presented itself. At times musically experienced teachers also taught private lessons, or a student learned from dad, using his fiddle, from mom, from the church organist, or from a "professor" if such a person was available and affordable. In any event, enterprising teachers would help the

instrumentally experienced young people in the schools band together into performing groups. These often were called orchestras, even if

they included only one orchestral string instrument or only a guitar or mandolin. If there were no strings of any kind, only winds and per-

cussion, they were called bands even if membership numbered only three

or four.

Primary accompanying instruments for music activities in the early

Kansas schools were organs and pianos. From what can be gathered con-

cerning relative use, it appears that organs competed effectively with

pianos and might actually have been more common in the nineteenth ten-

tury (pianos having only been devised in the late eighteenth century).

One interviewee related a story about how a giant box social provided

the entire financing for the purchase of an organ for th.c. school.

However, with the coming of the twentieth century the larger and heavy,

metal framed piano had found its way across the American Frontier, and

by theend of the first quarter of the century most of the country

schools had such an instrument.

Another technological development which influenced music education

in the closing years of the nineteenth century was the grammophone-

record player. Many interviewees report the use of Sousa marches which 15

were early "hit-parade" favorites around the turn of the century. As mentioned earlier, these were used on cold days when teachers had chil-

dren march around the room to warm themselves; but also when children were restless during stormy weather and needed physical activity; to

teach "beats" and rhythms, and just for fun listening. Soon, in addi-

tion to marches and other popular forms,classical music recordings became available. The "classics" provided the basis for music appretia-

tion classes in the early 20th Century.

Of the various types of music literature mentioned in the foregoing

sections, the most common is song literature. The Lamar, ColoradelArbor

Day Program of April 16, 1892 included the following: "Marching Through

Georgia," "Columbia,Gem of the Ocean," "Rally Round the Flag," and

"Yankee Boy." It is logical to assume that the same music was popular

in Kansas at the time. It was mentioned in various interviews that in many schools it was not unusual to spend at least fifteen minutes a day

singing from song books. Children memorized patriotic songs, rounds,

folk and country tunes, as well as nasense songs and popular ballads.

Immigrantchildrensangthesame music as nativechildrenin the schools.

Even children of parents who generally spoke a language other than

English learned the English songs, and no reports indicv..ed tLat pupils learned songs in other languages. This would probably have been regarded as contrary to the principles of the great "melting pc::."This does not mean that songs of ethnic heritage were not learned and transmitted.

It is just that they generally were not employed as a part of school activities (except possibly in a most solidly ethnic community). Such music was generally learned in the home, or at dances and other social functions. 16

The music scores and song books used in the Mountain-Plains region employed round notes from the very first, rather than shape notes. This is of significance because shape notes were largely a southern tradition, whereas round notes were espoused by Lowell Mason of Boston music tducation fame. The general influence of shape notes went no further north or west than Missouri, a slave state at the time. It did not penetrate Kansas, in part due to the Boston influence of the New England

Immigrant Aid Society which sent settlers and helped bring the territory into the Union as a free state.

Several specific song titles mentioned by interviewees include:

"What a Friend We Have in Jesus" (and many other religious hymn-tunes, particularly in the early days); "America;" "Home Sweet Home;" "Stars and Stripes Forever" (words were sung to the trio); "Red River Valley;"

"Pop Goes the Weasel;" "Row, Row, Row Your Boat;" "Blest be the Tie That

Binds;"Battle Hymn of the Republic;" and "Americathe Belutiful."

Such songs functioned in many ways, but several of the most signif- icant functions in the Kansas frontier school setting were the Amer- icanization(enculturation)of ethnic groups, the engendering of the

American spirit, the uniting of a multi-cultural nation and the enhancement of patriotism. Other common topics and functions were the trans- mission of religious-spiritual-moral attitudes and beliefs, the trans- mission of personal values,the fostering of interpersonal relationships, and the expression of feelings for the beauties of the land and

the wonders of nature.

The appendix offers a verbal-musical-functional analysis of a sampling of lesser known songs selected from music books and pieces of 17

sheet music which were published during the latter half of the nine-

teenth century and at the turn of the twentieth. There is good reason

to believethat thetexts from whichexampleswereselected were

actually used in the schools of Kansas because most of the aforemention-

ed songs are in them, and the texts were found in thearea. They cur-

rentlyresidein theKansasMusicEducators Association Historical

Center, University of Kansas, Lawrence.

Music in the Community

Schools and churches were the foremost community centers in nineteenth-century Kansas, and many of the activities carried on asa part of this function involved,if not featured, music. Church or school community centers provided the settings for meetings (which were often introduced or interspersed with music); picnics (with sing-alongs and other musical entertainments); box socials and cakewalks (wherein a musicalgame determined whogot whatfood--and partner);patriotic celebrations (often involving appropriately patrioticsongs, and combin- ingseveral of the aforementioned activities);worship and revival services, plays, dramas (all of which could involve appropriate music); dances (whereiq folk and ethnic musical styles often dominated); anda variety ofother activities, nottheleast ofwhich were musical concertsthemselves. This last category, like some of the aforementioned, might involve noted artists such as Jenny Lind traveling the concert circuit under the auspices of P.T. Barnum, or more commonly, local talent. Many of these activities involved large segments, and often all of the community. 18

Community Music Activities

Community music activities which abounded in Kansas from 1870 to

1900 generally fall into two categories: vocal and instrumental. In the vocal area, the State witnessed continued development of the singing school tradition with evolution toward the singing convention. In the instrumental field, the town band was the phenomenon of the era.

Specific instances of singing schools have been found in Junction

City in 187023, in Boston, Elk County in 187324, and in Fairview, Brown

County in 187525. These were all local operations run by residents who happened to have some background and training in the singing school

tradition. In the 1880's, the railroads brought in singing teachers

from outside the State, and the railroads made it possible for them to

tour the State holding sessions in many different locations.

The two leading figures of the singing movement were Henry S.

Perkins and C. E. Leslie, both of Chicago. Perkins first worked the

State in 1880, when he held a convention in Fort Scott, October 26-2926.

His procedure involved gathering large numbers of people with advance

public,,:y, teaching from a music book which he usually sold on commis-

sion from the pblishers, and culminating in a large festival perform-

ance for which he often imported soloists and accompanists to support

the local participants. In addition to Fort Scott, Perkins made whistle

stops in Seneca (1880), Mond City (1880), Council Grove (1880),

Sterling (1883), Great Bend (1883), and Mineral Springs Park (1883).27

Perhaps the most amazing musicalconventionin Kansas history

occurred in Bismark Grove,ea the railroad in the northern partof

Lawr ce in 1880. The event was called the Kansas State Musical Jubilee

and was the production of C. E. Leslie. Leslie, with his wife and 19

twenty-eightassistants,covered the northeast quarter of the State

giving mini-conventions from May 1 to August 15, 1880. Ten thousand

singersin seventy-three towns participated in the preliminary exer-

cises. On August 18,1,800, sopranos, 1,600 altos, 1,200 tenors, and

1,400basses assembled at Bismark Grove to rehearse under Leslie's

direction. Seven soloists were brought in from out of the state to do

the solo parts, and the railroads put on special trains to accommodate

the participants and spectators. On August 19, 1880, the concert was

held before an audience estimated by local officials atover 30,000.28

Leslie and Perkins apparently represented the peak of acnievement

in the musical convention movement. In the 1890's, few such endeavors were undertaken, and vocal music instruction and community activities moved into proprietary schools such as the InstituteofArts and

Languages in Topeka." The schools--elementary, secondary, and higher education--also assumed a much greater role in teaching vocal music and organizing community participation :n later years.

After singing schools and musical conventions, the most important community music activity which would later heavily influence the course of music in the public schools was the town band. During this period the bands were rather small, seldom numbering more than two dozen players; and the instrumentation varied widely. Two types of bands flour- ished: the outdoor band--mostly brass and percussion, and the indoor band--a mixed group of wind, percussion, andeven string players that

1' sometimes alsoincluded a pianist or organist. The outdoor groups played in town and city parks and rode on band wagons or marched in local parades and were modelled on European military bands, while the indoor groups were western versions of the music hall orchestras popular in the eastern United States following the Civil War.

0') ,0%.) 20

The U. S. Army Bands stationed in Kansas provided music for the communitiessurrounding FortLeavenworth (where theband was first organized in 1827), Fort Scott (1842), and Fort Hays (1867). Civilian bands were active before the Civil War in Lawrence (1854) and Topeka

(1859). The turmoil of the war caused a hiatus during the 1860's, but things started up again is the 1870's when twenty-six communities in the

State formedb ads. Louisville and Wichita bands started in1870,

Burlingame in 1lit, Marysville and Wamego in1873, Leonardville and

White Cloud in 1875, Desoto and Pleasanton in 1876, Clay Center, Howard,

Newton, Russell and Wakeeny in 1878, and the deluge began for real in

1879, when Ellsworth, Eureka, Frankfort, Kingman, Manhattan, Morrill,

Oskaloosa, Oxford, sterling, Virgil, and WestMineral started town bands."

The Community band movement peaked after the 1880's. In those years, ninety-eight communities in Kansas acquired town bands, five in

1880, four in 1881, five in 1882, eight in 1883, twenty-five in 1884, four in 1885, thirty-eight in 1886, seven in 1887, two in 1888, and none in 1889. Only one band,Hutchinson in 1894, was initiated in the

1890'3.31

Thesingingschools, musical conventions, andtown bands gave

Kansas her first generation of musicians of national stature. Merle

Evans of Columbus, Joseph Maddy of Wellington, and Thurlow Lieurance of

Chanute were but afew of the heirs to these traditions. Daniel E.

Kelley of Gaylord and Dr.Brewster Higley of Smith Center, who wrote

"Home on the Range" in 1873, weresimilarlytrained. Subsequent developments in music education in Kansas owed much to these community music activities. 21

Music, Education, and Change

In the last three decades of the nineteenth century, the balance of semeinschaft and gesellschaftmahifted from the former to the latter, especially in the areas of music and education. In a complex and diverse situtation such asis studied here, it is difficult to measure communal and societal trends and to say when a balance is achieved.

Even in modern times a dynamic struggle goes on between close-knit,

informal, family-like patterns and the wore impersonal, formalized, and contractualtype groups. At the sametime,however, trendscan be discerned which demonstrate movement away from localized and diverse value systems and sociocultural behaviors and the rise of centralized organizations which, if they do not exert rigid control, at least exert a measure of influence transcending community boundaries.

Whether the educational system was a cause or a barometer of these changing trends is certainly debatable. It is equally arguable whether music was a tool or a by-product in the change process. What is clear, however, is the extent to which music was involved in the education and enculturation processes. Music and education changed as community and society changed. For those in music and/or education who view their art and/or profession liberally,the changes are positive indicators of dynamic and organic growth, i.e."progress". For those who see themselves as conservators of the cultural tritions, such fundamental and pervasive changes may be viewed negatively as destructive forces. In either case, the changes did in fact occur, and there is very little evidence to suggest that such changes can be successfully eluded. 22

Footnotes

1 . Heller,George N.,"Music Education in Kansas Before the Civil War." Paper Presented at the Southwest Division of the Music Educators National Conference, Colorado Springs, Colorado, February 2, 1979.

Ibid.

3 Ibid.

4. Judge, Sara,"Country School Legacy: Humanities on the Frontier" (Eastern andCentral Kansas Report) Mss., 1981 (Ch. i, p. 1)

S. Dick, E. N. Sod House Frontier, New York: D. Appleton-Century Co., 1937, p. 317.

s. Ibid., p. 317.

7 CIrdley, Richard, A History of Lawrence,Kansas From the First Settlement to the Close of the Resellion, Lawrence, Kansas: Lawrence Journal Press, 1895, p. 23.

a Statutes of the Territory of Kansas...(N.p., Shawnee Manual Labor School, 1855), p. 699.

9 King, Clyde L., "The Kansas School System--Its History and Ten- dencies," Collections ofthe KansasState HistoricalSociety" (1909-1910): 424.

10. Twenty7Second Biennial Report of the State Superintendent of Public Instruction (Topeka, Kansas, 1920), pp. 382-384.

11 Judge, Sara, Ch. III, p. 2.

12. Statutes of the Territory of Kansas. . p. 699.

13. General Laws of the State of Kansas. . .,Lawrence, Kansas: Kansas State Journal Press Print, 1861, p. 266.

14 Sersion Laws of 1855. . .Topeka, Kansas: Kansas Publishing House, 1885, p. 273.

ls. Judge, Sara, Ch. IV, p. 2. 16. Roosevelt, Theodore, Report. . . Upon a Visit to Certain Indian Reservationsand Indian Schoolsin South Dakota, Nebraska, and Kansas, Philadelphia: The Indian Rights Association, 1893, p. 23.

17. Norton, Alice L. "Music in the Public School," Kansas Educational Journal 6 (February 1870): 230-231. 23

18. KSTA Minutes, June 24, 1870.

19. KSTA Minutes, December 29, 1886.

20. Eleventh Annual Repo'rt 24 the Superintendent of Public Instruction (Topeka, Kansas, 1871), gp. 778. // 21. Course of Study for the Public Schoolsofthe State of Kansas (Topeka, Kansas: The State Printer, 18196), pp. 49-51.

22. Kansas Educational Journal 6 (October 1869): 138.

23. Collections of the Kansas State Historical Society 15 (1919-1922): 512-513.

24. Collections of the Kansas Ftate Historical Society 16 (1923-1925): 486.

28. Isely, Bliss and Richards, W. M. The Story of Kansas(Topeka, Kansas: The State of Kansas, 1953), p.181.

28. Musical Herald 1 (May 1880): 118.

27. Musical Herald 1 (July 1880): 167; Musical Herald 1 (November 1880): 261; Musical Herald 4 (April 1883): 113; and Musical Herald 4 (October 1883): 280. Perkins probably used his own Graded Music Reader (Boston: Oliver Ditson Co., 1877).

28. Lewis, Jim J. "Beautiful Bismark' Bismark Grove, Lawrence, 1875-1900," Karisas Historical Quarterly 35 (Fall 1969): 246-248.

29. Kansas State Department of Public Instruction, Report of the Super- intendent (Topeka, 1894), p. 166.

313. Oursler, Robert D. "A History of Public School Music in Kansas" (Masters thesis, Northwestern University, 1954),pp. 29-35.

91. Ibid.

32. Mechem, Kirche. "Home on the Range," Kansas Historical Quarterly 17 (November 151,4): 313-325.

Relevant Interviews and Written Communications

Berg, Emmar, R.R. 1, Lawrence, Kansas, October 1980 and February 1981. Birkinshaw, S.ott, Ogden, 14:0, October 1980. Carrtar, Edna, Winfield, Kansas, February 1981. Dodde, Joanne, Pueblo, Colorado, October 1980. Gulliford, Andrew, Silt, Colorado, December 1980. Mansfield, Philip, Lawrence, Kansas, January 1981. Peters, Velma, Lawrence, Kansas, February 1981. Preuit, Ruby, Wheatland, Wyoming, November 1980.

4r Lawl. 24

Figure 1 Kansas Educational Demographics, 1870 to 1900

?On ron

1 L10.0011 I I I1 MIX

2.01111.820 I

/04X 014.000 . 3001

I I i 1 . . _ I WO; 1 4- 4111 . 130.224 . !« Ea I WM I. WM Firers. flows 1 2448.06 1MX 4 xes 1 1.00.024 1 . 1 ]20114 . imu

/208,31011 20.001 ]WU 414at

1 I I WM J73 anunanun woe unun anuuuwun mn

mu tmos

! I

! 1 114481 I I 1rout IOU WOW/ I I 17.3111

1 Loon i Ian . I 1 10.01111

i 1 i 4614 : au .1 2c3se 'I 1.311 IW 1 1 1 UM 1 1 un noun 4 noun MIS Iaun- on 1,,,01

I !

i il I I200X I 4,41111, / 040

I I I 1.31111 I UM Loa aez 1 i i

I I IWO Ian 11143 J011 1101 WWI II! Jr L820 1423 :JO 1414 18114 1801 :NO

Source: Twenty-second Biennial Report of the State Superintendent of Public Instruction (Topeka, Kansas, 1920): 382-384. 25

Figure 2 Settlement of Kansas Counties, 1854 to 1890

cat, as eaultial Taal la :au

Ciri=11:1 Mal a Lai Coalaal Glataaa Sal a IVO

caaartszs maul= PUOI a tan con=NMI= tanToties

alearal aim= nue mats Canna allMaall Ian a IMO

Source: Homer Socoldfsky and Huber Self,F'storical Atlas of Kansas (Norman, Oklahoma: University of Okahoma Press, 1972), pp. 38-41. 26

Figure 3 Suggested Time Schedule for Kansas Grade Schools,1896

Outline of Work for COMMON School*. 51

STUDIES.

Pier I Spewed Third Pettus h Fifth sixth -."%elith gi hth I , ear. 7041% YCI11`. %MU% tour. vat*. } e.if. I )t..11..

I (.1.1.+IC. .1.mit lialtmiIII M.:nil IN. Rending. Reading. Rending. Reading. R..1111na. volitive..

Phonics. Monica. Phonic'. Ninnies.

Nrillue. fStiellitut. Spelling.1 Spelling. (test). Spelling. ?:..t.lx";:r ((...4,111ruci."e*

Caitlin. Culture Calturo Culture Culture Culture Culture i Culture Stadler. *taller. *Mites. Stadler. Studies. studies. stiulley. i, St mik,. I ....-Language. Lang. Lang. Gaut. ';',18:t. Lling. Grammar.1 Grammar. N:IiIIINI XAtIlf, Nature Nature Narita Nature Nature Nattier Study. Study. Study. stuilr. Study. Study. Stwiy. Stork. Plant suit Animal 1.14. Galittreglff (oral lend. .-- _ _ Pityries tilaittleesperintentrl. I tudurtr(es.

31tenniltaty and Arcronomy (uberrentioutt). Ilttanr ft.Ipwreat tour)...... Chemistry (regerinients). Phys(c: .experimetit").

Phyrielegy (oral mato .... ---. --1 (knit. I Mil),4oshmirr. -. thole>. ("; ... w . Coo w. ------N II ntree Nutmeg? Num int ho w. te. Wuelt. work. work. Arida Acids. % nth. lrith.

Dady wiring segrgt.w. through reeeath Stir. =111111..., Drawing and music (alternating daily). all clarrer.

ti).Drill in phonics and spelling for first four years should accompany reading exercises. (2). Class exercises In orthography should follow some text on formation. derivation and use of words. (3). When text has been introduced In any subject it Is to be followed there- after until It is completed. (4). -Culture Studies" should be related to rending as closely as possible. arm ax soon as pupils are able to rend Intelligently, should furnish the supple- mentary reading. Oh "Culture Studies" and "Nature Studies" with ebservations and expert- meets are tutended to bo the basis for daily language work.Oral and writtenwork abundant In quantity and varied in character wilt grow

Source: Course of Study for the Public Schools of the State of Kansas (Topeka, Kansas: The State Printer, 1896), p. 51.

BEST COPY AVAILABLE 27

Appendix

This appendix provides a sampling and functional analysis of some lesser-known songs which were used in Kansas schools and communities during the Nineteenth Century. The verbal-musical analyses deal with how these songs functioned in the enhancement of community and community living during the period under study.

It may be interesting to note that in the writers' recent analysis of the song text material found in Graded Singers: Book One,(for primary grades by O. Blackman and E.E. Wittemore, Cincinnati, Ohio:

The John Church Co., 1873) six "key word factors" were identified in the textual content. Most of the 55 songs were r_lated to more than one of the key word factors, and the data may be summarized as follows: "Joy,"

12 songs; "Kindness and Love," 16 songs; "Nature," 32 songs; "Religion,"

19songs; "School and Education," 14 songs; "Work and Diligence," 10 songs. It seems safe to say that these songs were consistently devised for didactic purposes beyond music education, that is, for circulating and enculturating students with dominant attitudes, ethics, morals and valuesof the times. In fact,it may be fair to statethat song materials such a those analyzed here are the musical first cousins, if not the direct equivalents, of the famed McGuffey readers. 28

"Song of the Kansas Emigrants"

Words: John Greenleaf Whittier (1854); Music: Traditional, "Auld Lang Syne" Adams,F.G., Ed,, Transactions of the Kansas State Historical Society. 5(1889-1896):30-35.

Text

In the 1850's, Amos Lawrence, eventual co-founder, with Eli Thayer, of the New England Emmigrant Aid Society, sponsored a contest to encour- age poets to write lyrics which could easily be sung to awell-known folk song. The contest rules stipulated that the poem be a statement on the struggle against slavery and that it offer encouragement to New Englanders to migrate with their families to the new territories in the West. John Greenleaf Whittier won the prize with his "Song of the Kansas Emigrants," which could be sung to the tune of "Auld Lang Syne."

Whittier (1807-1892) was an American farm boy turned poet under the inspiration of Robert Burns. His anti - slavery verses were heard a growing audience for decades until his "Song of the Kansas Emigrants" and several others were known froi Massachusetts Bay to the Missouri River. The text is very clear in as abolitionist sentiments, relating that just as forefathers left Europe for freedom in the New World, sons must extend that freedom westward in America. Northern sentiments are strong and set in vivid imagery:

"And plant beside the cotton-tree The rugged northern pine."

Of particular interest for this study is the fact that Whittier's text emphasizes the importance of the "common schools" to the cause of freedom. He also stresses the use of the bible "Against the Fraud of Man" (slavery).

Music

Whittier composed histext tofit the beautifully simple, straight- forward and rhythmically regular strains of "Auld Lang Syne." It was (and remains) fairly common practice to set a new text to an old song; particularly toan old,tried and proven popular song. This helps assure the success of the lyrics in terms of peoples' acceptanceand remeaberance of the message; and it alleviates the need to learn a new melody, which could be difficult for many and thus diminish the communi- cative function of the enterprise. Aside from the fact that it has a simple, attractive and thus a very useful melody, Whittier may well have been influenced in his choice of the Scottish tune "Auld Lang Syne" by his love for his lifelong idle, the Scottish poet Robert Burns. 29

Functions*

Communication: First and foremost the song functions as an attractive, poetic message concerning anti-slavery and the extension of freedom in the new world. Emotional Expression: A restrainedromanticism comes through clearly in the vivid imagery with its strong affective appeal for freedom. Physical Response: The tuneis conducive to use asa marching song, and was actually used as such by many on the trek west. Symbolic Representation: Whittier's text is literally filled with symbolidm relating to the ongoing course of freedom. *Enforcing Social Conformity andContinuity: Particularly the four aforementionedfunctions point tothis function and those which follow. The song stirred people to action, to move west for the cause of social continuity and conformity with their northern way of life. Validation of Institutions: The song, by virtue of the above, was a validation of the northern way of life and northern ideals of freedom, Contributionto the Integration of Society: Though slavery is never mentioned per se, the song is permeated with appeals for freedom and equality. Especially telling is the reference to common schools.

*Derived from Alan P. Merriam, The Anthropology of Music. North- western University Press, '964, pp. 222-227. 30

Song of the Kansas Emigrants

We cross the prairie as of old Our fathers crossed the sea, To make the West as they the East The homestead of the free.

We go to rear a wall of men On freedom's southern line, And plant beside the cotton-tree The rugged northern pine.

We're flowing from our native hills As our free rivers flow; The blessing of-our motherland Is on us as we go.

We go to plant her common schools On distant prairie swells, And give the Sabbaths of the wild The music of her bells!

Upbearing like the ark of old The bible in our van, We go to test the truth of God Against the fraud of man.

No pause nor rest, save where the streams That feed the Kansas run, Save where our pilgrim gonfallon Shall float the setting sun.

We'll tread the prairies as of old Our fathers sailed the sea, To make the West as they the East The homestead of the free.

John Greenleaf Whittier 31

"Words of Welcome" Words: Mrs. H.F. Osborne; Music, Unknown

Blackman, 0., and Whittemore, E.E., Graded Singers: Book One.* Cincin- nati: The John Church Co., 1873, p. 65.

Text The text isan expression of a group of children's welcome to family and friends on the occasion of a school program. A number of values and attitudes are conveyed, e.g., "Kind friends and dear parents;" "good lessons;" "make us submissive and gentle, and kind;" "for learning, we know, is more precious than gold;" "and thus lay up trea- sures in mansions above;" etc. The song also begs the audiences' indul- gence: "Remember we are all quite young; You'll pardon our blunders." The meteris extremely steady and therhyming scheme is a simple AABBCCDD for each of the two verses.

Music The melodic line is simple and clear, so as to enhance but not obscure the simple but important communication of the words. The piece is in three-quarter time witit each phrase beginning on the third count of a measure. Virtually everything moves at a steady quarter note pace except that every phrase ending is a half note. The melodic structure might be termed A,B,A,C,B (var.), B (var.), A (var.), D, but Al real unifying element is the continual repetition of 10 quarter notesleillow- ed by a half note. The harmony is not provided in this test, but very obviously can be accounted for by basic I, IV, V chords--except for the cadence halfillkay through: In the fourth phrase there is a modulation, involving a secondary dominant, to the dominant. This is the only point of any musical sophistication in the piece, and lends a nice bit of variety. The original key returns immediately at the beginning of the next phrase via a phrase modulation.

Functions Emotional Expression: The song expresses earnest good wishes and fond good wishes, love and friendship. Entertainment: Itis an entertaining way to introduce a school program and provide basic information. Communication: Introductory remarks and cautions, goals and good will are all being communicated asnoted in the preceding "Text" section. Physical Response: This is not a major function, but the repetitive, basic three-quarter rhythm will most likely cause a bit of toe tapping or rhythmic body movement. Enforcing Conformity to Social Norms: As cited in the earlier "Text" section, many values and virtues of the society are recounted (including the values of education), and by being set to music, they tend to become more memorable and ingrained as well asmore acceptable (according to recent research).

Validation' of Social Institutions(the School);Contribution to Continuity and Stability of Culture; and Contribution to the Inte- gration of Society are important and all operative functions too, by virtue of the above.

*For "Primary Schools and Juvenile Classes."

9 f 32

Wm*IWO stw,. H tr. osmise WORDSo WELCOME.

I 141+450 74P-

u.Kind frientl. and dear parents, we welcs.nie you here. To ow n.ce, vie1,1111 2.. We week yourap.prov-al. with hearty coed will, And we lustn: the got .l

.stshooltrInas, and teachers, todear ; We wmh but Is. diou you how lea.sonsnorteacher* in -still May snake us.411..inis-mve,and

Aueh we have learned, And how. Is. our lcuout, our henrca Wet:bti tented. ;en -Ile,andkind. At well ask ettlight-eu and .trettgtheu ise mind.

a) Ww hupe rem:otherwe allare piste rsuntr, And when ue have F.sr learning, we know, is ntore previous than gultl,The wt*rtil "1the

41 ip 'd17 4111,

1:eti. re cu - eel. n.i .110g, Y.u'll pardonutr1.1tuttl.,-. which heart'. jewels !Wet canhetold ; Well strte, then, forirtue. and

ailare -ware, M.ty ew en extent, It) the l're-itient', chair. man-ions a-hove. Eonorand love,.%nd thuslay up trea.uretin

BEST COPY AVAILABLE 33

"Gentle Rain"

J. R. Murray

Blackman, 0., and Whittemore, E.E., GradedSingers: BookThree.* Cincinnati: John Church Co., 1873, p. 71.

Text Each of the two verses of this brief but cheerfulsong has six phrases, with regular accent points in each phrase. The rhyming scheme is a simple ABAACC. Frontier-agrarian values abound as the gentle rain is called upon to "make our meadows bright," bless the fields, and cool the earth. The spiritual element is acknowledged with rain equated toa "Gift of our dear Father's love."

Music The stylistic marking for this song is "cheerfully," and the melody gives a "running" feeling with two notes per beat most of the time.The lighthearted effect is enhanced by several "skipping" figures (dotted eight-sixteenth notes). The melodic form is a simple ABC, or could even be construed as ABA-variation. This little tune is treated in a more interesting harmonic manner than most simple songs. The first and third sections have three part harmony (though the entiresong could be done in unison). The second and third lines move together and at times quite independently from the melody. The second section has the melody singing two measures alone, echoed by the other voices in unison. Musically the harmonic aspect is the most interesting factor, and includesa super- tonic chord as well as secondary dominants. The high points or climax of the song occurs at the end of the third lastmeasure with a fermata (hold) on the key words "love" and "shower."

Functions Emotional Expression: The song engenders happiness and a positive, thankful attitude. Entertainment and Aesthetic Enjoyment: The harmonic and rhythmic aspects lend rIfe and musical interest to the song. Communication: Thesong clearly expresses an appreciation for rain, high regard for nature in general, and a thankful attitude toward God. Contribution to the Continuity of Culture and the Integration of Society! The song expresses common values in terms of what was important in the rural frontier society--good rain,a cheerful, positive attitude toward lifeand nature,and a thankful reliance on God.

*For "Grammar, Intermediate or District Schools." 34

GENTLE RAIN. A.4419. and Wm.: Ay f R

I. Com- ingdown incool - ing shower, Gen - tic rain,Gen - tie rain ; 2. Come and make our meadows bright, Gen - tie rain.Gen,tle rain ;

Bless - ingbird,and. field, and flower,Bless - ing bird, and field, and flower, Hearts areglad forthee to- night,Hearts arc glad for thee to - night.

(7) o'n ors

of - Giftof our dear Pather's love, Come with blessing from a - hove. Corn - ing down in cool - ing shower, Blessingbird,and field. and flower. 01% V mIN 44.N.abtv4 =NmENK%a =It --4 110 -fr °"'; 11"' Fr 0----r -sr IP. -r v v -IF-10*

BEST COPY AVAILABLE 35

"The School Bell"

Words: Mrs. F.A. Safford; Music: H.R. Palmer

Blackman, 0., and Whittemore, E.E. Graded Singers: Book Three.*Cin- cinnati: John Church Cr., 1973, p. 76.

Text The four lines of each of the two verses are based on the identical accent pattern: (rest) The rhyming scheme is a simi- larly regular and simple AABB. In this sense the form and the content of the verses is very consistent and mutually reinforcing, because the message is a simple, positive and forthright sermon on the pleasures of the work ethic, e.g., it is good to begin on time; to please the teacher; the happiness of being praised; leave play 'til work is done (or school is over); don't waste time; keep busy.

Music The four very regular antecedent and consequent phrases of the song are arranged in a simple, straight forward chorale style. The unim- posing solid melody with its very typical AABA form enhances but does not distract from the message of the words. The harmony, though in only three parts, is in typical "Bach chorale style," and the steadily moving quarter note rhythm is enlivened by passing eighth notes every couple of measures, in the typical Baroque manner.

Functions Communication: The most obvious function of this song is didactic. It is meant to teach the principles of what is commonly termed "the Protestant work ethic." The pleasant musical setting is meant to enhance receptivity tothe message as well as to enhance memory of it. * Enforcing Conformity toSocial Norms; andContribution tothe , Integration of Society: The work ethic was vital to survival on the frontier; and persons will be happy and welcome in the community if they are good contributors. Contributionto Continuity and Stability of Culture: The song makes clear that all should contribute their efforts to keep the community vital, stable and a happy place to be.

*For "Grammar, Intermediate, or District Schools."

3i 36

THE SCHOOL BELL. Woe& he Mr F A .r.non Mu. t by PALMS/. ste.. f It n41 t a. 0-- 81e, P___--311 #0.-11

c. Whene'er themerry bell rings out,Ohletus hastea way ; :. So when themer - ry bell rings out,Leave play till school iso'er,

*ft

...+1 mairma,.

How pleas-ant to be - gin intime,The du-tiesof the day. Nor num bee one among the group,Which waits out-side the door, Tti f

-0" a

ere.. 'Now low1/11MOIIIIIIMMME V see;"" For happier far our hearts will beat, Ourteachers smile to For mo - menulos: can ne'er be found, Nohour should wast - ed be ; ni Cry.. tars II=MIOIMENNIMMO

webe. How sweetthe praise which we have earned, And hap- fly will There's time forwork and pleas - uretoo, And busy wemust be.

#11i

BEST COPY AVAILABLE 37

"Fatherland"

Franz Abt.

Blackman, 0., and Whittemore, E.E. Graded Singers: Book "tour.* Cin- cinnati: John Church & Co., 1873, p. 47.

Text The text tells of noble pride in the homeland, and also that "'Tis from noble deeds of duty that a nation's blessing comes," so let us keep our vows of patriotism in time when saftey fades and sorrow looms. "All our success comes from Heaven....Let thine arm shield from harm, Lord, our fartherland." The atmosphere is that of a hymn of praise, resolution to duty, and supplication to God. The "thee's" and "thy's" rein- force the religious feeling, and apparently at this time in America's history, there was no problem in publishing+ and using song texts which united feelings of God and country in a very spiritu41 manner. The rhyming scheme is a well-balanced and straight forward AABCBCDD(DD).

Music The musical,_setting isin a hymn-chorale style which serves to enhance the reverent atmosphere of the text. The four part harmony is quite basic within'the chorale tradition, and replete with many moving voices, not unlike the Bach chorale style. The -alodic format is essentially ABBCC,and the unifying,recurring rhythmic figure is dotted quarter note, eighth 'note, half note (or quarter note-quarter rest or note in place of the half note).

Functions Emotional Expression: Patriotism and praise for the homeland are intermingledwithpleas of supplication to God for its preservation. Aesthetic Enjoyment: Repetitive factors in the text and setting along with moving voices in the harmonization are probably the most functional aesthetic aspects for most hearers. Communication: The song communicates ideas and feelings of patriotism and prayer. Conformity to Social Norms: The song reminds people of duties to the fatherland, as well as the pride and joys which spring from loyalty to it. Validations of Social Institutions and Religious Rituals are served by the formal, reverent and generally appealing text and music of the song. Continuity, stability and integration of the society are all served as everyone's benefits and duties are extolled.

*For "High Schools, Conventions, Choirs and All Classes and Choruses of Male and Female Voices Combined."

4. 38

FATHERLAND. is Air -"Et 41140-.-*- irrAr r- 1 ratite:lax( 'Fatherland! Rt in Cod's, right hand ! Whenour lip,* day name are naming, Loud the przneful r e- .... -7----..--..[ .... _a_ .:;_t_...... 1.-- s-'.1 -er - -i, P'ar- v 's -0 -&-- "I"""' 2. Fatherland! Fatherland ! Rat in God', right hand! 'Ti; on patliA of peaceful beauty That a peoples

...r...... :.:4.40....;..-.. 1 0.::%* -....7..4...... 24:c.:4...;.7:777i! 4,--r..0.....7.7" ir mr-

j. Fatherland! Fatherland ! R,,t in (owl'. right hand ! Vow'. in joyful moment:given, Let ivi !seep when

t------ai t_.---7-.414:.7:.. -- L ~0 ...... 1 .. . 111 ...... 44.)' 4 i'' 4*-04

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accents flow It lieu our hearts thy =nrth are claiming, Warns with noble pride they `Low I.ctthine arm

a-rt

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+army blown.: 'Tie front noble deedsof duty That anation's blaming comes. Let dune arm

x ,- - -4-.dr .10 syrrow [users: An our miccor coinc4 froin [leaven. Thine, dear land, each patriot'ipow'ri. Let thine arm

P11201,1 1 1 4111=0 gel

'---...... :---v ' 1 0.----- .-_,._;-,:i-r-,7*--;_"3 Jr_i_,.,... _ Shield from 'tam, Lnrd. our Fatherland: Let thine arm Shield from harm. Iced, our Fatherlar, i !

--.--._=,_ ,,,:ir," ....0, AO-- 0 Shield from harm. Loral. our Fatherland! Lrt thine arm Shield from harm. Lord, our Fatherland'.

_.--:,..--.e lei-I..-- -..). --4-i-- 1i ---° ---r, ° , ! .., - t "- 11 Shield from harm. Lon:I. our Fatherland ' Lct thine arm Shield from harm, Lord, our Fatherlandt t/ ---,-;---%--9-4-----..-- _L ...... , 1

BEST COPY AVAILABLE 39

"Death of Lincoln"

Words: Paulina, Melody: Scotch Tune

Blackman, 0., and Whittemore, E.E., Graded Singers: Book One.*Cincin- nati: The John Church Co., approximately 1873, p. 67.

Text The words employed in the text are of the old Englishtype, as might still be found in some religiousverses: thou, thee, thy, weal, woe, etc. This gives a hallowed flavor to the lyrics which honor Lin- coln or the "nation's father, friend;" "strong in word,and deed, and prayer," "who didst God's chosen lead," and "hast the people freed." The form of the text is claisically symmetrical and simple. Each of the three verses has eight balanced phrases, with arhyming scheme of AAABCCCB.

Music The melody is as classically symmetricalas the text: There are three measures of half-quarter followed by a dotted half,and this pattern repeats twice before the fourth varies to twomeasures of half- quarter and two of dotted half. The second half of the melody is identical to the first half described above. The form, in two phrase units, is A,B,A (transposed), B. The ultimate unifying element is the simple half-quarter rhythm which permeates the tune. No harmony is provided, but the tune could easily be accommodated by simple I, IV, V chords.

Functions Emotional Expression: "We bend O'er they grave-sod;" "Griefs that darkly swell;" "the martyred dead;" etc. Communication: The song tells the story of Lincoln's heroism and death that all may share in its meaning. Symbolic Representation: Word meanings aside, the structure of the text and music,in their classical formality, symbolically enshrine Lincoln in a classical setting not unlike that of the Lincoln Memorial in Washington. Enforcing Conformity to Social Norms: The song strongly promotes the worth and importance of freedom. Contribution to the Integration of Society: The song stresses the fact that Lincoln freed people and "didn't God's chosen lead thru 'a sea, ah! red indeed! Some Southern people still resist the idea that the Union supporters were God's chosen, and there is little doubt the song foundmore widespead favor in the northern states than the Southern States. However, it certainly functioned tointegrate immigrants, many of whom were escaping oppression in their homelands, into the American valuesystem,enculturating them with history anda hero.

*For "Primary Schools and Juvenile Classes."

r440 " 40

Words t.y ? *.us *. DEATH OF LINCOLN. SOMA Moak

"ar t.Thou. thenu-tion father, friend. Year by year In thaught we bett 2. Thou. who dicrat Cod'echott-enleadThro awa, Ah rutta.det ti : 3. Thou -lid's: sadly pass a way, Lake atoy ofyester day,

O'er thy graveud, there to blend (Alai. that AA, ty wed. Thou who hutthe' peo pie freed, %Ye have heard thy knell When the dawnof peace was ray, And the.Itatiow. tied ;

&nt.:, inwatt!. md *levet, Ind prny.r, F.,' thr ,p4111;et do and darts. Fare.wei tothinehon.et worth. la thy gni - it north. Now 'hailloutorl (rave.11 thineIteaft Freedmt., aitar brine.

-a- v't31 and %wi.e n lika t..lhare Linc.11n, fare the.: N tit ! oh,that n..111e-t ofeast's, I.1111., -In, fare thee well : In all com-tng time a .ogn Of themartyreddead

Wrrt \Veld. CROWN Till:

dr I rat TI

With praise a ell i.rnwn the murnmg, 11 (Tim air 1 cit.'. with my h.111 2. %rah 1011 We it eras a thevrontint:. 'Ti.1,-6.1t in ik 111- itslight,

V. 1.,,.pread 1.1011 time wry With praise v e morning Wt'll work and conquer fortho rightWith toil well rown the owning

TEST COPY AVAILABLE 41

"Thirteen Were Saved" or "Nebraska's Fearless Maid"

(Song of the Great Blizzard 1888)

Words and Music by Wm. Vincent

Published as Sheet Music by Lyon & Healy, Chicago, 1888

Text The text tells of an incident which took place in January of 1888 during a blizzard which wracked the Northwest and centralregion of the United States. As reported in the Omaha Special, Miss Minnie Freeman, the "plucky little teacher" at Mina Valley,Nebraska,saved her 13 pupils by leading them through the blizzard toa house three-quarters of a mile away--after the door, windows and roof of the schoolwere blown away. She did this through the device of tying the childreninto a line with a length of twine,thus keeping them from getting lost in the blinding snow. The story is told in verse having the simple, basic AABB rhyming scheme. The refrain is sung twice between each of the three verses, and at the end.

Music The melodic format of the musical setting followson ABAC form for the verse and an ABCD phrase structure for the refrain (whereinC is based simply on an ascending scale and D on the descending scale). The harmony remains very simply I,IV, V oriented with the main point of variety being a modulation to the relative minor (F majorto D minor) for.the second part of the verse. The actual unifying factor (in light of 'the lack of melodic repetition other thanrepeats themselves) is the dotted eighth-sixteenth note pattern which permeatesthe entire piece. This pattern isgenerally associated with agitation, excitement and lively motion. Therefore, it is particularly well suited as anaccom- paniment to the exciting tale of the "plucky maid" and her class.

Function Communication: A primary use for this music is to tell aLdpre- serve the story of the fearless maid. The song is also employed to communicate the general concept that frontier teachers had to be brave and resourceful people. Emotional Expression: The song is used to convey the excitement of the described situation as well as the admiration for its subjects. Entertainment: Inasmuch as the sons involves a tale of danger and adventure, it served the function of entertainingmany people, particularly at the time of the incident. Validation of Social Institutions: In its treatment of the fron- tierschoolteacher, the song validatesthe work ofsuch persons and the school in society.

,4 42

: . ; 71: "..._ ' 7- ; . 4.. : ...... g t A.._ RE SAVED. I TEEN -W j "., :A., *v :..-:.''' -.3 .::7''-:.,- -4."-?..,ze- 'T. ''. ", ..,: - -z.car : i 7 - "7"g117/4.44te '..ii--,t__;'-/-*-" --* - ,-; 7,. .",- -.;:-:-..;;" ': ::: '..--:-'.';-(.-.4)''',....;;;'nEs..A' u 7- 'N.,'-'1: "!"1.',.`=';-.1*':-:eON' -.; I = ,-; -*--7=,0151., -::' . -:_- =4:..'.. -'' -- : '. "I: t.-'''''N;'`-'-':' -.1 .. ..4...... : , a "V !'es'. ..',''t f :...t. -:'. 7: 1 ot, .0-, . -:11...;'44:4444 t;- ..-- - MAID -;:=?'":-'r=7A'a BRASKA'S. ".4.dor:. r.sr- 3 :TEARLESSs J..'" ' ..3."ii, ;:. 514.7 . - . - . 4 -- - 4 -Art - 3.ln- t. 4-ro 4."..÷.1.`r-!''',.: "ii" - * '11;1, fyi- . ' - - Jr" theowyliont the Northwest in January1SS8...)*.et (An ncident ot_the:terrible blizzard .4! "10.7 "r,ft (-.1. -7 .1* ',-. 14* . rr.:t em`,...44""- ;."M'..:1;47,, V":ttl.:. - .. -. -t-,./- -5 . - J .- - ' ,r ' '..1ijaVeZ. i.1. s. ...I..' - efin4-1` r415rzio . 1 , - and Wm. Nncent..'11:: . , - _f* 117- IMO /Lam 1 INV ` . " .. si .: lit. "-j.tle sohool-bOase-stood.*:-...i a - Ione, -Up« or..r. a.prat -ries - bare 1. -4". - -4--%,..r4-1-0. swift-,:- ly came- e :sn ow, s'T1, Sw11.41I ``cgaue;: thiro;rtish.---:-.-ing; noise,As 1. - 4. - 21:".": . 1., k ' '., .rThen. t wait ..aing;i- air _Jrin:. glat .; , of sue - perise",'. 1 Dett,4 2. .1,-4 - r ,:rThe'itg snow -.zrew.deep..thele 7,.-was' lost,: 0. :-,..God,: 1%-hat. dread.- ed ., tate. -::...:,;.-titeprzet .7. . - .-. -7- .- ... last- - be het--.: fume- -.Ina4.-.11k ;Naar- no bly-, done, May. 0 3. t-ttrZThe,,. !teachlters : . . yt=e:1... 1;.,..t..1.:i; 5' - - . . . - 4/7. a 172" 11 -3 - ." 7 7 -.. 77P. - . . . - : 4 . - ,-2`r ", r - onoc . it . : .

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rail

I =I _ _ ...-- 0 -,...... 7..,..? 1 ir7 41t-f---"w- w --1T------..r..--1 .1 .. , . : - . : T'''': r-N f' 47. :-.- ''. . :, ; 7 - -.' scured the sun and, sky, And .ter ror 'filled each lit -tie.-...heart;,-Aad -tear,came inthe- eye..*:).-.- prayed to God to-aid,,-- 'Then... quick as thought from sim -piecord, '; -A --.. bandof ua - ioa made. lead them 1,rave-ly. out, One :car -ried in ...-- her gen - de: arms,-All cheered by word and shout4; . -. .:., .., farru - er opes the door, In -:-grat - tildethey kneel in prayer,....rp-_?: on that farm-house tiooreir... ma -.ay souls w9prayed, And blesa-ings askedfor that brave - girl, ,, :".fe-;_bras- ka's fearless maid.--;=Z-- - ..,..,-,, -. :-..::!,;;.:,. . -.., -.2- --..-4-1..,-.. 1 -. -. :-. it.., _.. :- -4- ...- ..--.a. , 7'''. .;:-.---:-4--;.',,:"..-:. .-- .:--.1.-.1. ..-- _. a ' .14 ..--S ...... ---i- ...... k.....e" a :=P---.7.1. ,,.. - - 1...z. gd -4-5- ...,rd . i - . - - .. . I.-. 1- ,.1. ..::,.-::-- .. F.:, - . .ao , J# Pe ... - .. 1% - roll - _- - a--. ---:, , a pa 1

'.7....."; Sup. at . .. 7 0 7 .. 71- -" r ::- . ' . :.; -5z.,--,....-1.:;::::: .-Oh " thir. - teen weresaved" the " pluck - ylit-tiemaid," "":,. :? . .,- - ... .,... . . -.,___. y___ IP .---:#zri----. ..4. -. . ._ . i -,:....,zZia441. --4.- - ..."- .* . - ' ,..: ers, F"-*-_-`,...-- ' '',',."...e-r*A' -..' - - i::: . . :' 1 TENOR.4-lorr9 . 1--rR---R--.1---./P !!-7---ir---0-v---..----.1 or' it it -t ' :>, -. - ".:- - -* ... .--43474.-+ s--.7.?..: ... ir:..-1.* - -:.1'.ei -. -- . !-.-7 -:":',..7;:::-..--..:';'*_-.L..1.1- - .i.:.:;-:- - .ft...:..i-... -4 - .2. .."' Thir -- teen 7:- were Saved"7-''''' --the '. "pltick - y -....lit.: ....tie-maid ,"--';'-''''-'.- .- . :-...... -1-4t...... - - ?*'-e.:...' -. . --: -- -. -..: 11 ... ' .''.. : 1..__J .4.....___,.N. .., N g .-L---,-. .., , BASE. L 1...... 3---4- *-- as--,--Asr--. . .., " Thir - teen were saved" "thepluck - y lit-tie ... .- .... . 4. ... . , , .,.,_ . t.... 1 .---7I a a.-- a a a .______...1...... _, ..... - ..-. . P. . - . . . 1 I I 4 -a . ) 9

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BEST COPY AVAILABLE 44

---a, i N --1 ..././.- i 0.-.4.-.07: fr -"-7.10-.L.-.10-...o-r -1.4 4-4- - a 0 :-...... ,..- ra. -7 '34---" Tbus flathhed the joy - OW news o'ercit- y town and glade. Brave - ly in - to the storm, She en --a,,.--44. tN ,. ai: .., I . w ''--N - at- ---.44.--N.-4..4 N t- I .... a 14 --;,-, rlir-T-4lrd"-r-1e- ----1-1 ,.,°11-11,--V-r" 0 1 ir 111--" - - , . , . . - ,em -.. 1-....---... bi I 1/-1.,-,-,-.1.....---oL-,.....1=37...^ . -._._[ ,_...._A.... 9---t.- borPi--al V A ,.. 0---' k *" s V_ i-- I

Brave - ly iu - to i\lie storm, She Thus flashed the joy -ous news o'ercit - y thwn and gisde, .....- .. __,_. :2 ...... ,...... --.-...-0-4,--s--...... t-...-65,--N-4-4,-^r--...... 1.-..-....r.--1...... --....0-... 17 %' 7'''"'"j .....---..0..----. ------.7 d 0---01- 0,-L...ai / ----1 7r.0 .0 f-...... :-.- l.r and 'glade, . . maid." . . ,. - .; -

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"Try, Try Again"

George A. Veazie

McLaughlin, J.M., and Gilchrist, W.W., The New EducationalMusic Course. (Teachers' Edition). Boston: Gina S Company, 1904, pp. 98-99.

Text Both the first section rhyming scheme of AABBand the second sections' AAABBB areinterspersed with repetitions of the phrase "Try again." The message is straight forward: All slIould heed that regard- less of the difficulty of the task,if not successful at first, keep trying; perserverance; it is no disgrace to failas long as you try again.

Music The melody isas simpleand straight forward asthe message: Virtually all movement is stepwise, and straightquarter notes are the basis for the rhythmic movement. In fact, the end of the third line is a simple desceneing scale. The harmony toois basically I,IV, V, interspersed with an occasional diminished chord, ninthchord and secondary dominant. This all serves to set the mood for and point up the simplicity of the repeated phrase "Try hail'!"

Functions Communication: The didactic functionis basic here. Teaching, communicating the message ,:at perserverence is of great value is the primary purpose of the song. Symbolic Representation isemployed by example: "Try again"is repeated again and again. Enforcing Conformity to Social Norms: Trying and persevering are the values or norms which were importanton the-frontier and this song drives the message home through repetition. Contributions to the Continuity and Stability of Culture andto the Integration of Society: Willingness to try to accomplish, and to persevere at difficult tasks was essential to stable existance in frontier societies. The song persuades toward such stability, and stresses that all should heed--so thegroup may be unified and integrated in its social behavior. 101- T ,% I I %1I It at f V 01- "kit 1 1 *, ) = n "- -1-171 I !%:%* 11 i 114 .<:.4..C..4;.4;4 ir....1 __ 11. ,10! , Ali -116 114j st tt cs+ il %-11-I:IttiII' V.1%.1IT''' 1-t'l 11.1 %Iv 1I .0, . II 1 II] it' IN.:!011.4 % Au lib.) $ _,... !iji -I I . `12,11`E 21' I VI:II... I I 1i it' ; $ I ' I I i At i I1 I . . A: 1:1I I i ...... , i ..... 1 1:11 t ti 1-1 11I $ t% ? PYIiI, A I 4 ! 4 .Ii:i, , li ' ....., Iles :i454:7:11 1 '1 %I A 6 ) , :" :- id I - 11.11: ,14 !III 1_... l. LIJ KI Iti III 4: fit \ . . . ) Iiii." ii.r...... , . : mlz . , 41q; : 3. S. 11 .=F: ... .; ..,_ . 2.__.: I I 14112 "4 _... 11" .1 ! . ``' A -g k. 7:. A : I I II I I Of II II it ..-i- WI Tir I 1 , tt il! I 111 :1114 I / .1111 47

"Faith, Hope and Love"

Ch. H. Rinck

McLaughlin, J.M., and Gilchrist, W.W., The New Educational Music Course (Teachers' Edition). Boston: Ginn & Company, 1904, p. 86.

Text The text of this song is formulated in the traditional hymn for worship style, replete with words suchas "thee" "thou" and "thy."Each of the three brief verses is very symmetrically arranged, withan AAAA rhyming scheme. Each verse is a clarification of and elaboration on its inital word (faith, hope, and charity). The text is a strong expression of some of the most basic of Christian tenets. (Many hymns and chorales are found in song books up to the turn of the century. Their quantity tends to fall off after that.)

Music The musical form isthat of a simple but sturdy chorale.As such it serves to reflect thebasic tenets of the text, and the essential lifestyle of the frontierand the people who helped America grow. The simplicity and sturdinessis reinforced in the melody which is comprised of four two-bar phrases,each having the same rhythmic scheme(six quarter notes and a halfnote) and each concluding with a descending cadence. Such repetitionadds to the simple, straight forward and study effect of "truth."

Functions Communication: The song tends to illuminate the basic meanings of faith, hope, and charity, and as such serves a didactic function. There is ample research evidence that facts and im- pressions set to congruent music tend to be remembered more effectively than verbal communication alone. Emotional expression: While information is imparted feelings ar influenced as well ("deep darkness," "dark dangers," and "hol us long"). Symbolic representation: symbolic phrases such as "burning bright," "life's fleeting race," and "our anchor strong"are effectively reinforced in the musical setting.This is especially true of the strong anchor symbol. Validation of social institution and religious rituals: The traditional choral style of the music and the religious connota- tions of the text serve this function admirably. Contribution to the continuity and stability of culture: Tenets of the common Christian ethic were basic to American culture and the "melting pot" processing of immigrants. Aesthetic Enjoyment: Both music and words provide a simple but strong andsomewhat feelingful formal statement - -one which could be appreciated by anyone on the classical to mildly romantic part of the aesthetic values continuum. 48

FAITH, HOPE AND LOVE Suggested by the German of Gr It.t.ttAno CH.H.RINCIC r-TAnkle-t( surtourta w L -71 t. Faith 1 thou art our glad- ing light. 'Mid deep darknessness 2. Hope! thou art our an chor strong.When dark dangers 3. Love! thou art God's smil ing face, Fres - cot here,in

Ntf I I -AP- 'lir I 1=--`

ofthe night ;Let uskeep thee e'er insight, Burn -ing ev er, burning bright. round us throng ; Hold ussure ly,holduslong, 'Midthe waves ofwoeand wrong. ev .'ry place ; May we CV erown thy grace. While werunlife's fleetingrace. ---: 0 o -- 4 3t--1 .-., I No o: ----- =7,:=1114..-...

R i --.--. i i 4. ta.....li..011_dit__1 I I."... .C10. 4

BEST. COPY AVAILABLE 49

"Morning Song"

McLoughlin, J.M., and Gilchrist, W.W., The New Educational Music Course (Teachers' Edition). Boston: Ginn & Company, 1904, p. 23.

Text The lyrics and their simple rhyming scheme are very orderly, re- flecting the theme of the song: Nature's simple, revitalizing beauties and order are reflected in the dawning of each new day. The text is a very positive one ("We come...With faces blithe and gay,"); and extolls the glories of the natural environment.

Music The musical form is asregular and orderly as the text, being strictly comprised of six two-measure phrases. These pair off nicely into three sets, providing a straight-forward ABC form. The harmony is based on simple I,IV,V chords and the melody echoes this simplicity by adhering almost exclusively to the natural chord (arpeggio) and scale tones. Rhythmically the piece reflects the same principles, having a perfectly symetrical AABBAA rhythmic format.

Functions Communication: The song espouses a love of nature and the beauty of the natural environment and order of things. Emotional Expression: The song is a highly positive expression about life, the renewal of life, and the place of existence. Enforcing conformity to social norms: The work (as well as play) ethic is espoused in a highly positive manner. Contribution to the integration of sociaty: The song extolls the abun- dance and beautiesof the land which are common bonds for the various ethnic groups which share them. Aesthetic Engjoyment: The words and music reflect a valuing for the orderly progression of simple beauties, and_should stimulate some enjoyment and appreciation particularly for those of a "classical" nature. 50

MORNING SONG Anonymous French AIlggro assai

OPP ti !IMO X I.All We IMEN1 11/111.10. =, I . ,.,% ..-- Jt-- , I: r ,--v------4....._-- - ...... ,. F ,...... v.....?.. 1 ,.....11., iii ..::: "le...... o41. '412:,..WpS00.09=. =. . -rA X 1"--= =.

.... 0 0.e...... - r, ....0 0 0 ...... I na -titrehails the day As dark - nessfades a -way, The come to work andplay,s With fa cesblitheand gay, Each . , J 4 ! ; a a a 1 i P a IV---.3 IP. dp, S wr ---7-44.- IIIf =I. A% "'" ''' -..... i'"" I _...... L .....- -. i .--

birds.the flow'rs,the murm'ring breeze That stirs to mu sic all thetrees. Now morn - ing is our wrld made now, Like thirst y timersre - freshed with dew, We

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,,,...... --.17% 2...... " ! i , 411. ..._...1...... k__rs I. .,, ...... _ aff 10 I _ i .i. . .., 0 i , . f r 1 -,!.. 1. ... - - --,-.1 .-- r,----- _ ...._

lJ 51

./ "For AbsentFiends"

A. Mary A.R. Dobson

Ripley, F.H.% and Tapper, T. Melodic Second Reader. New York: Ameri- c. look Co., 1906, p. 128-129.

Text Thetext, ispatterned in a clear and simple ABABCDCD rhyming scheme. It expressed the feelingofand probably isincluded here particularly for the benefit and understanding of immigrant members the community. Paraphrase: As evening comes out thoughts go to loved ones on other shores in distant lands. Though it is not totally a song of worship and supplication to God, it is for the most partco. Para- phrase: They pray for us so you may keep us strong and true-.-.. our new land, as we pray for them. 0 glorious shepherd of thy shep, watch over us all with everlasting -rove until we are reunited in peach. Thus two-thirds of the text would. be totally appropriate ina church hymnal. Such expressions, along with church hymns themselves, werecommon up Lo the pub.!,ication of this book. They gradually became less during the ensuing years.

Music Formally the song is in two parts. After a four meausre intro- suction, thefirst part, structured AB, is set in a minor ,,ode. A two measure-interlude and the second part, structured CC,are set in the relative major key. Harmonic interest is ealivedby several secondary dominent and diminished seventh chords, as well as an occasional pedal- point. Rhythmically the tune moves at a moderate quarter and eight note pace, with the predomihant unifying pattern being two quarter notes, a dotted quarter and an eighth note. The music is essentially in chorale style, in key'mg with the severent, hymn-like atmosphere of the tex...

Functionr, EmotionalExpression: Love, longingandsupplicationarethe themes. Aesthetic Enjoyment: The textis poetic and the music has some feelingful reinforcements for it--in addition to some interesting formal and harmonic nuances. Communication: The text communicates feelings for loved ones and progress to God. Conformity to social norms, and Validation of Religious Rituals are functions which areot;cative 411asmuchas,even when being integrated into a new society, it is proper to remember and pray for your parents and friends who havebeen left behind--and the hymn-like setting of both the text and chorale uelp to validate the r.ligious aspect of such behavior. Contribution to continuity,stability and integration of the society are servedfor the same reasons. The stabilizating- integration function is effective because the song provides an acceptableoutlet and catharsis for the loneliness and/or longing which were shared by any in the urban immigrant as well as the rural frontier communities. FOR ABSENT FRIENDS. a hilly louder. A St Asir A. K liousoN - . b______.__ A A 4- el# r ------70 -.-----11:-.-- ...)1-_-__-_-7._:_-__-_:7_" ___=_:------i: t-_::__- _-- F-- -1---- MN& On III Ii - ershoreshidi:. - laid. htlitib.Wh011 0 1;10 - i s Map - herd ofThy hlieep,Witurr 1.The I I- .... - -_,___I____4 I__ _4___ I I _ 7_1_2_ M __ -; 1 -.. -1-_- --'__:. I-_?, _-=-_a -- -14---',------j-v,-7-7 i_o_.-____ i1: __I- !_-.J-1.-- ._ __,,._.0.., u ______1 I IV I ...., ; ; r I r I., I. I) )0 -.------, *IA, L.-of %:- ...1: . I I -I- I-:f- f- "Lir 4.__r-- rf-_-:- ;NII . I 1 -I f ---! _ r _ r _

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BEST COPY AVAILABLE 53

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