Music Appreciation with Young Children Is Through Their Interest in Interpreting the Appeal of Music Through Motion

M US I C A PPR EC I ATI ON

F OR L I TTL E C H I L D R E N

T H E H OM E K D R G A R T A N D I N , I N E E N , PR I M A R Y S C H OOL S

Designed to meet th e needs of th e child mind during th e sensory period of develop ment ; to be used wi th th e

c tr l ctor Rec r s Vi o a. a nd Vi o d

Educa tion a l Dep a rtmen t

V ICTOR TALK ING M ACHINE COM PANY

E JE E . N W RS Y s . CAMDEN , , U A .

There is sweet music here tha t softer fa lls

o a Tha n peta ls from blown roses n the gr ss .

—TE N N YS ON

he oul o musi slumbers in the shell T s f c , ’ Till wa ited a nd kindled by the ma ster s spell; — — A nd feelin g hea rts touch them but lightly pou r A thousa n d melodies u nhea rd before"

—ROG ERS F OREW ORD

’ T orld a ver ha a he w s y ppy pl ce , h d d Wh ere every c il should a nce a nd sing . —SE 'r0 U N

T gives me sincere pleasure to cooperate with those who are bringing to little children in

l or the pub ic schools of our country , opp

tunities to hear the great music of the world .

I t is a well - known fa ct that music makes its deepest impression in the early years of childhood . While the capacity of little children for listen

se ing to music is limited , tho who know how to find good music which will make a genuine appeal at this period in ’ the child s development are rewarded by an appreciation f l which is well worth the e fort . In the period of ear y childhood the ear is easily trained and neglect at this time can n ever be fully made up by any amount of musical edu in cation later years . One of the very best opportunities to develop music appreciation with young children is through their interest in interpreting the appeal of music through motion . At this period in their development children have a singular freedom and confidence in creating their own interpreta tions through motions and steps that in later childhood seems to disappear . If this confidence and creativity are

a f taken d vantage of at the right period , the e fect becomes

s i la t ng , and a real contribution is made to their musical education for all time . Unfortunately , a large number of musicians , or supervisors of music in public schools , over look these very impressionable years and provide little in the way of training for the kindergartens and the ﬁrst grad es . F O R E W O R D

f i Through the e forts of M rs . Frances Clark and others n terested of - da inthe education the young child , children ofto y may have an opportunity to come in contact with the very best music that the world has ever produced . Those who are willing to search diligently to discover music suita ble for children will not only contribute to the child ’ s present

a re development , but will lay the foundation of music pp cia tion which will make all life more beautiful and enjoy

able . I send my very best wishes to the effort which this little

M r . book represents , as s Clark h a s given untold time in searching for the best that music can provide in the

education of the children in our public schools .

I PROFESSOR PATTY S . H LL

rector of o er r ma r uca t on K n er a rten - r ma r Di L w P i y Ed i ( i d g P i y), ’

ea ch ers Colle e olum a Un ers t ew ork . T g , C bi iv i y . N Y PREF A CE

HE unprecedented increased interest in the study of music appreciation as a cultural subject singularly well adapted to a broa dly

a rt democratic presentation of the of music , which has been proved to be a universal

o human need , is ro ted in the development of the modern talking machine and records . Until the Victor began its service to the needs of the schools and brought all the music of all the world to all

the children , no one ever dreamed of teaching music

appreciation to the children of the gra des ; and very few ,

if any , had made any headway in the high schools . As

th e work has progressed , the ecstasy which even very little children have shown in listen ing ju st to listen and listen ing to lea rn has electriﬁed many older hearts and

galvanized into action hundreds of educa tors .

In the beginning of this new use of music , it seemed

quite enough that the children should march more orderly , play games to real music instead of monotonously chanting

- some nondescript tune unaccompanied , and semi occa

siona lly hear a few selections of truly great music . This

a is no longer adequate , nor , indeed , is such desultory pl y “ ” ing of a few records to be called music study or music ” appreciation .

If America is ever to become a great nation musically , as

she has become commercially and politically , it must come

through educating everybody to know and love good music . This can only come about by beginning with the chil ’ l ttl children e dren , i e , at the mother s kne and on the e kindergarten circle , and so surrounding them with b auti P R E F A C E

ful music that it becomes a vital part of education , devel

en a opm t , and life , inste d of the autumn ﬂowering of a stunted , undeveloped , sterile bud , to be seen in a frantic “ ” grasping at music culture in later life . M illions of dollars a re spent each season in madly rushing to concert and opera in a vain effort to make up w for the a ful deprivations of silent early childhood , where l the proper music was se dom heard and never understood . “ ” Thousands of people pathetically try to hear a sym

or phony tone poem , but only succeed in becoming vastly wearied by a mass of , what is to them , only incoherent H cacophony . aving ears they are yet unable to hear because those ears missed deﬁnite training in childhood .

- r The tone picture falls on empty canvas , bec ause the e is no imagery rising out of a rich experience in full - fed

r imaginings of scenes , atmosphe es , moods , painted on memory ’ s walls by countless other former stimuli of pictures ’ in tones . The language of Eliot s Indian Bible or the tongues ’ of Babel s Tower a re not more lost to the world than is the language of music to the unfortunate millions of Americans who have grown to manhood and womanhood deprived by circumstances from hearing it during the tender years of youth . These conditions are no longer tolerable in the light of the present educational awakening .

is If music an educational factor , an individual and community asset , then it should be given its rightful place

l lower in the curricu um of our schools and kindergartens ,

no less than , indeed much more than , in the high school l and co lege , where it has won a foothold , precarious because of this very lack of foundational work in the elementary schools . B ecause we believe that , next to reading and writing , i l music is the greatest s ng e factor in educational processes ,

0 10 00 . P R E F A C E and because we realize that teachers everywhere a re reac h ing out for deﬁnite instruction and direction in this larger use of music itself, and also as a powerful leaven to lighten — the whole mass of instruction , as a beautiful pollen which — - brings to fruitage every ﬂower of child mind , we present this plan of work . To assist thoughtful parents and earnest teachers to u se music in this broadly cultural yet eminently pra ctical

u . way , it is hoped that this book will be fo nd helpful H owever, it will be found most satisfactory when used by the progressive music supervisor as an aid to h is or her general plan of work . It contains explicit instructions for using a splendid

selection of simple , yet most beautiful , music for children during the sensory period . ’ M usic should be the concomita nt of every day s expe ’ — ri nc e e in a child s life at home and in school , not only in

r h is a ctiv the music pe iod , but permeating every phase of

t r l . ma e ia ity and development The need is great , and the offered with the Victrola and Victor records is rich in

volume , usefulness , and adaptability . If we have pointed l out the road for the millions of American chi dren , and if we have led the way to a new ﬁeld of the child ’ s fairyland which shall grow with him to manhood ’ s most beautiful

la round o th e soul p yg f , our highest hopes will have been l ll fu ﬁ ed . The work is a composite of almost the entire Depart M ment . A large part of the work was done by iss Edith M M . R hetts . Especial thanks are also due to the isses

B r z ll Puliv er M l Grace arr , M argaret Streeter , G a e a , abe

R M . . n Ra ich , and the essrs S Dana Tow send and ymond B rite . FRANCES ELLIOTT CLARK

0 1 1 60 THE UNIV ERSAL NEED OF M USIC APPRE CIATION

B AHA M C L R LIN OLN said , The ord must — have loved the common people He mad e ” so many of them . What phase of music education is open to the ma sses of our great democracy ? It has often been said that there are three classes of musicians . There are a very few who cre t er orm a e music ; a larger number who p f it , some of “ e whom , as has humorously b en said , execute it and that

lis n great class who te to it . In these days almost every one must hear music H whether he wills it or not . e can hardly escape it . If he goes to church , to the theatre , moving pictures , politi

or cal meetings , almost any place where people are gathered together , there is music of some kind , be it good , bad , or indifferent . If every one could be educated to appreciate the better music , a public sentiment would therefore be

d n d created which would ema good music . It would have

n a deﬁ ite , even a revolutionary , bearing upon the quality of music which would be found on programmes every where . We are concerned at this time with the development of the power to grasp and to enjoy intelligently good music . It would be interesting if statistics c ould be compiled from adults perhaps ten years after graduation from school . How many would be found crea tin g music as a result of their music training received in public school ? In all

- t e probability none among present day adults , but h time is not far distant when some of the excellent harmony

e“ 12 °0 5 U N I V E R S A L N E E D

courses now in operation in a few schools may deﬁnitely M bear fruit in creators of music . uch is being done to

discover creative musical talent in America , to educate

such talented ones , and to give our American composers

n But full recog ition . the creators must always be

the few . How many are performin g music as a result of their training received in school ? The very greatest strides

have been made recently in public school music . Choral societies as an outgrowth of school singing are functioning

c iv in life , and hundreds of the youth of many cities are re e

instru ing instruction in voice , piano , violin , and other f ments , all of which will have a wonderful e fect in a few B years . ut can even the most optimistic ones predict that the ma jority of our people will ever reach artistic per forma nce in real life ?

listenin ? M And again , how many are g to music ani festly all " This great body of listen ers includes not only the great majority who will perhaps forever remain in ’ the listeners class , so far as the hope of technical perform

ance of music is concerned , but also all those classiﬁed as

r or tor pe f mers and crea s . Is it not a strange and paradoxical fact that the only phase of music which can affect the life of every child is receiving the least attention of all ? The public school is “ ’ ” “ : Everyman s University , and one needs to ask Is the music of this great democracy to be adapted to the many ” or the few ? M usic appreciation is all too often mad e a subject for

- the so called musical students only . One sometimes ﬁnds

it offered as a third - year high - school music course open only to those who have successfully passed examinations

in scales , notations , rudiments of music , melody writing ,

e“ I B M : M U S I C A P P R E C I A T I O N

and elementary harmony in the previous two years . Then likewise should we withhold the reading of good books from those who cannot write poetry or essays ? Should we not be lifted out of sordid materialities by the sight of an autumn woods until we have botanized them ?

music The love and intelligent enjoyment of , for both

o - e the musical and the s called unmusical , is the b ginning

and the end of music appreciation as such . It is axiomatic that we can neither love nor desire to study that with which we have no acquaintance and for which we have no

taste . M usic is the language that begins where the power

of the spoken word ends , and its power functions in the

nation , the community , the home , and the inner heart of the individual . Every patriotic American of whatever ancestry realizes

now , as never before , the needs to amalgamate all the ni people into a national u ty of calm , sane , unswerving

z loyalty , and to awaken them to a reali ation of the

responsibilities of their American citizenship . fﬁ There is no medium so attractive , sure and e cacious i for this need a s M usic . There is nothing so un versal in M i M us c . usic its appeal as Through , we can meet every newcomer to our shores on common ground , and through it we can touch the magic chord of their love of their folk arts , and by leading them to a knowledge of American songs and dances bring them to an appreciation of Ameri can ideals , sentiments , institutions , and history . It is a hopeful sign that a few great industrial centers

are utilizing this great power to solve our peace problems . M usic lifts the tired worker above his weariness and

grind , above his sordid count of the daily stipend , above his ofttimes sullen antagonism to all things . It lifts him

«0 9 14 0 U N I V E R S A L N E E D

into pea ce , contentment , hopefulness , joy, and happiness , which attributes go far toward making him a better

z worker , a better citi en , a better man or a better woman , mentally , morally , and spiritually . M usic is one of the m ost powerful factors in the world in creating and cementing the group feeling , and its enjoy ment at home brings an added tie to the ﬁreside . With apology to Longfellow

Bet een th e a rk a nd th e da l t w d y igh , W en th e n t is e n n n to lo er h igh b gi i g w , ’ Comes a pa use in th e da y s occ upa tions a t is kno n a s th e a mil our Th w f y h .

The community and the family a re collections of indi v i a l f e t du s , and any great movement which a f c s them does f so because fundamentally it a fects the individual . Education is valuable in proportion to its bearing upon u ni life . The only phase of musical education which has

music recia tion versal application is a pp . Teaching of all kinds is entirely too much devoted to

a getting read y for examination . We t ke the first year to get ready for the sec ond year, to get ready for the third year, and so on until finally all too often music is left out of high school because it does not get us ready for college . American schools have bee n very busy with vocational education , as the nation itself has bee n oc cupied with industry , but , for some reason or another , all our national efficiency has not brought us simple happiness . One can not but recall Wordsworth ’s words

Th e orld is too muc t us la te a n d soon w h wi h ; ,

Gett n a nd s en n w e la wa ste our o ers . i g p di g, y p w Th e sea t a t a res h er osom to th e moo n h b b , Th e n s t a t ll be o l n a t a ll ours wi d h wi h w i g h , But a re upga thered now like sleeping ﬂowers

For t s for e er t n we a re out of tu ne . hi , v y hi g

°I /) M U S I C A P P R E C I A T I O N

M n The Greatest Teacher once said , a cannot live ” r by bread alone . And in all our hearts the e is that urge , that proof of immortality , which makes it not enough that we should live , but demands that we should live more abundantly ; and an attempt to prove that music has a vital place in the more abundant life would be like prov ing an axiom .

The Indian plowed the earth , pla nted and watered the e se d , and then sang to the Great Spirit to grant the har vest . Song has been a medium through which all people of all races and all religions have carried their desires to

r the G eat Unseen , and all of us have somewhere , some

a time , been lifted little while out of our material limitations and carried beyond our mundane realm on wings of song . Time was when music was a luxury availa ble only to the wealthy and the ta lented few , or limited to the ability

- of the struggling amateur . The advent of sound repro ducing instruments suddenly released it from the expensive

grand opera houses , from the symphony halls of the large

cities , and the haunts of the few , and spread it over the country . It is a wonderful dream come true that the schools all over our land may really hea r music ; that the homes of the masses a re happier through the power of music a n d that even into the silence of the great spac es in remote places the Victrola may ta ke the greatest artists and sym phony orchestras of the world " What kind of music will these millions hear ? What shall they be a ble to enjoy ? The public schools must

s s answer . They may open vi ta of beauty , and provide a

n s guide for recreatio hour , and an avenue of happiness that shall abide through life

S n i o urely such an aim and e d s w rth while .

0 16 00 »

M U S I C A P P R E C I A T I O N

- study impractical , in any but a wonder child , before the age of ﬁve , six or seven .

But what of the ear at this period ? It is at its zenith . “ ” That h ttle pitchers have big ears is literally true . The ear is alert almost from birth , and a child of even a few months will almost invariably give evidence of pleasure at hearing music softly played or sung and will give some sort of rhythmic response . From three to eight years of age , the sensory period , the ear is keen and active . Why , then , not follow this direct guidance of nature itself? ’ Why not teach songs beautifully with cello , harp , or violin accompaniment ? Or why not permit the children to become familiar with the minuets of Haydn and

B M z eethoven , the gavottes of Gluck and o art , the beauti

H umores ue Tra umerei Le C n e . ful lullabies , the q , , yg , etc , making them their own for life , and , at the same time , stirring and stimulating mental processes that are imme dia tely reﬂected in every branch of study and functioning in every phase of development ? M usic is an activity not to be approached in the spirit of mental idleness . It is also an art of sound which can never be appreciated through the eye . We are so thor oughly eye - minded that we rarely depend on the sense of ’ hearing . If a child s latent aural and rhythmic faculties

diﬂiculties are not wisely cultivated at an early age , in the way of real music perception increase . There is no branch of music or any other subject whose study will yield greater returns in menta l habits of alert i ness , perception , and concentration than w ll intelligent and purposeful listening to music . The power of listening is used not only in the music appreciation period , but the teachers of all other subjects will be most grateful for the formation of the listening habit . The elusiveness of music

” 18 0 E D U C A T I O N T H R O U G H M U S I C dema nds a n exerc ise of quick perception and retentive memory a nd its attractiveness stimulates th e desire to think about what we hear . Any teacher of music appreciation could cite spec iﬁc cas es of the illuminating effects of this subject upon the individual that are convincing and inspiring . Individuals who were slow to think , who had little imagination , and whose experiences were barren of the beautiful , have de v eloped a mental alertness that has improved a ll their work in other subjects and an appreciation of the beautiful ,

- which will be to them a perenn ial well spring of joy .

Fortunate , indeed , are those to whom this experience may come in early childhood that it may serve as a leaven in the formation of all of their tastes . The modern educator feels that all good teaching must draw from the child the response that arises out of his own experience , imagination , and thought , guided and led on to th e acquirement of thenew concept which it is desired to tea ch . The new teaching of music must conﬁne itself to the same law of pedagogy , observing the best and latest discoveries in the natural development of the child mind .

To this end , then , little children should ﬁrst be given rea l music itsel e ma f , years before they are ask d to ster the symbols of the printed form , the rules of the grammar of its language , or the technique of performing it . M usic should be heard in infancy and early childhood as language is heard , and later studied in exactly the same way . First , the child should listen just to listen , then listen to learn , exactly as he ﬁrst hears language all about him , then listens intently to try to imitate the spoken words and to comprehend the meaning of a wide v oca b u lary which he may later use . Then , and not until then ,

“ 19 0 REYN OLDS AG E or INNOC ENC E E D U C A T I O N T H R O U G H M U S I C does he learn to read the page to add to his store of knowledge . M usic to be presented to a little child must ﬁrst be

. S beautiful econdly , it must possess , in addition , some

intrinsic feature of educational value . Thirdly , it must be presented in such manner and through such media as are suita ble and proper for the developing power of the

l r chi d , and which follow in some degree the stages of p og

ress of the race in using music as a means of expression .

R . hythm is older than language First , therefore , we

must incite to free self - expression through simple melody

ff instru very strong in rhythmic e ects , played by a single ment or the combination of a few instruments directly

descended from early forms of percussion , string , and wind

types . The child should be encouraged to express in some bodily activ ity his own reaction as to what he thinks or

feels that the music is saying to him . Each child should — be perfectly free to react in his own way regardless of the

ideas of the others . The tremendous awakening gained in cultivating the imaginative and discriminative powers by the use of descriptive and imitative music cannot be over

estimated . The knowledge that music can tell a story or describe

something as words do , or imitate some sound in nature ,

opens at once a new world of thought and opportunity . In this ﬁeld some teachers will prefer to tell the story in

whole or in part , leading the pupil to discover just where

the music tells a certa in fact or fancy . Others will like

best to draw a word picture of the scene , situation , mood , or feeling depicted and let the children discover for them

selves the points of the story in tone , bringing out by “ adroit questioning the sweet reasonableness of why M U S I C A P P R E C I A T I O N

i the mus c must be loud or soft , high or low , even or jerky , smooth or vigorous , ﬂowing or in long jumps , graceful or sturdy , peaceful or crashing , etc . , if it is truthfully to tell S the given or suggested story . till others will wish to leave the children entirely to their own imaginations , to B evolve a story of their own making . y dint of setting the children arguing for their reasons for these particular — interpretations all the special points of the music may be brought out , as one has heard one thing, one another , and the sum ﬁnally makes up the complete story .

M sic r If then , through u we can secu e that rapt a tte tion interes n of the children which engenders t, leading

a rtici a tion ex ression inter reta tion to p p , p , and p , we have begun a real educational process which is often sought in vain through other media .

The Great War brought music , because of its service , to the attention of all our people as never before . It remains for the educator to seize the psychological moment of interest to inaugurate a real course in the study of music and further make it serv e his purpose in the educa

usin tion of his youthful charges by g music , not only to relieve tension , delight the dullest , cheer the sulky , calm the neurotic , and exhilarate the sluggish ; but , at the same time , to arouse sense perception , secure mental discipline , emotional response , keen interest , and concentration , through which one may give information and instruction ,

r stimulate the imagination , and develop the powe s of

his is R E A L ed ca tion . discrimination and selection . T u THE SUPERV ISION OF M USIC APPRECIATION — PLAN MATERIAL—METHOD

’ BIRD S- EYE view of the United States reveals a great diversity in the supervision

r of music app eciation , ranging from the very few cities which maintain a special

supervisor for that subject , through the places where the work is handled by the music supervisor, or the principal of the school , to miscel l neous a work on the part of the grade teacher .

Re gardless of who may execute the plan , it is of prime

be - importance that there a well built plan . No doubt the prime reason for the almost universal cry of no time for ” appreciation is due to two facts . First , that the super

- r . visor has her well formed plan of sight eading, etc , but the appreciation work , as such , while accomplishing much

l r in general love and culture , has fai ed to inte lock with

- so . S v the called regular course econdly, the super isor and

ze school authorities do not reali that one lesson , out of four or ﬁve , taken for appreciation work with its resultant capacity to feel, to know , and to love music , and its inevi table aftermath of keener attention and sharpened wits is

o on . not time f , but decidedly the subject

be a The mere playing of music , it ever so entert ining

and delightful , is not necessarily educational . A music appreciation course should be so carefully planned and pur posefully given as to demand the same respect now given

by educators to courses in literature .

The number , length , content , and general purpose of the lessons should be so adjusted as to be an integral part 23 M U S I C A P P R E C I A T I O N

of the regular music work of the school , and in no sense an extra barnac le - like attachment to the outside of the regu

- - - lar music work in a sort of catch as catch can manner . It has been thought that in most schools where there are ﬁve music periods a week , one of them might well be devoted to this work . The mental grasp of the whole subject will be so greatly stimulated that the routine work of the ﬁve periods as previously taught , may easily be covered in four, and the joy and breadth of the study of real music added without extra time .

- We have , therefore , suggested thirty two lessons each ,

r for grades one , two and th ee , conforming to the usual school year of nine months , allowing for deduction of the

s ﬁrst and la t weeks , the end of the ﬁrst semester , and

C hristmas holiday preparation weeks . If only one appreciation lesson in two weeks can be ’ arranged , then the course will be sufﬁcient for two years work , or it may be shortened to sixteen lessons , although

much value will be lost in omitting illustrations .

Three lessons each for kindergarten , ﬁrst , second , and — third grades , have been wr itten out in detail supplying

an actual suggested presentation . For the remaining

- twenty nine , we have merely selected material and “ L grouped it into suggested lessons under the title , esson ” B a uilding, leaving it to the teacher to study the present tion of each number as it appears treated elsewhere in the book , under songs or instrumental music , as the case may

be . The kindergarten teacher has so much freedom in

using the record material in rhythm , story , rest period ,

etc . , etc . , beyond the limitation of a given music period , that we have thought best to give only the three suggestive

model lessons , allowing the kindergarten teacher to range

0 24 0

M U S I C A P P R E C I A T I O N

The best plan yet evolved is that every school have

- its own small but standard , well selected library of records , which may be at hand at all times , to include marches , folk dances , songs , etc . This is then augmented by supplementary material sent in the circulating boxes . B f A central library , kept in the oard of Education o ﬁces , with regulation loan privileges to the schools , is another ’ way of increasing the school s supply . The director in charge should adapt one of these sug gested plans for record equipment to the needs and possi bilities of his or her own city . There are almost as many ways of teaching a pprec ia tion as there are people teaching it , and owing to the new ness of the subject , the scope of material available , and the dissimilarity of personalities , the presentation of music appreciation may never be reduced to an absolute science . B ut there are certain fundamental principles to which we

must adh ere , and in spite of all allowances for the elusive

ness of our subject and breadth of our possibilities , there

are certa in deﬁnite ends to achieve and mistakes to avoid .

In the ﬁrst place , it should be clearly understood that the beginning and the end of music apprec iation for little

children is that the musical and the so- called unmusical

alike shall experien ce and love M U S I C ITS ELF .

If one is enjoying the odor of a beautiful rose , his enjoyment is not increased bec ause someone says the rose

is fragrant . Just so , it is of paramount importance that the teacher should not separate the child from the music

by too much talk . Le t the music itself talk . There are many legitimate ways of stimulating and l ’ leading a chi d s imagination , of heightening his eagerness

for and enjoyment of music through stories and questions , but it would be unwholesome to train him to expect that

“ 26 00 9 S U P E R V I S I O N

a lwa s r there must y be an exciting sto y , or that he is always to do something or imagine deﬁnite things . It is just as necessary that he should sometimes have practice in quiet enjoyment , and that concert etiquette be observed , though the miniature concert number be but one minute in length “M ” and the singer other Goose . A cramming of fa cts a bout music is often confused with music apprec iation . One might know that Beethoven was S afﬂicted with deafness , and chubert died at the age of ’

- thirty three ; in short , one might memorize a Grove s

a rec ia Dictionary , if necessary , without increasing his pp

l v . tion of a symphony , or learning to o e the more an art song

in orma tion Very little f need be given at this time , and guidance should be as much as possible in the direction of ’ skillful questioning , intended to arouse the pupil s own

thought power . The children ’ s response will be a safe test as to the cor ’ i l rectness of one s methods and ma ter a . If they are

h el attra cted and d in a happy , orderly enjoyment , the teacher may know she is started on the road that leads to

intelligent appreciation of music .

In response to literally thousands of requests , the Victor Educational Department offers this deﬁnite plan for a ppre

cia tion work in the home and primary grades . It should be the duty of the person in charge of the ’ apprec iation work for city or building to hold tea chers meetings to study the plan together ; to assist teachers who

need help in understanding and teaching the plan , and to

give model lessons when necessary .

ll a After thoroughly testing a the det ils of this plan , we

e - fe l absolutely sure that the well suited , attractive mate rial will itself bring insta nt and eager response from the children and teachers alike

BEGINNING CULTURAL HEARING

A thing of bea uty is a joy forever I ts loveliness increa ses it will never Pa ss into n othingn ess : bu t still will keep A bower uie r us a nd a e q tf o , sle p F ull o sweet drea ms a n hea lth a nd f , d uie a q t bre thing . —K EA TS

AN has many rights and blessings and none

greater than his inborn love of the beautiful . In the little child this birthright is fresh and

alive , and it is imperative that we should n urture and tend this precious impulse while

we may , that he may not reach maturity to ﬁnd it stunted and dwarfed through rounds of u ure

liev ed toil and years of disuse . The little child turns to the beautiful as a tender plant

to the sunlight , and a very young child is susceptible to

. His the sound of beautiful music . ear is alert and registers

conceptions very early .

A child hears language from his birth . It is poured

over him many, many months with no expectation that he

a shall use it immediately, and even before any particul r B n words catch his attention . y constant repetitio s he soon understands and attempts to reproduce this spoken

language , and has a vocabulary of many words long before

h e begins the deﬁnite study of reading and spelling them .

so Just , if music be a language , a child should hear ,

love , and understand its tone message long before he is

able to spell out its words with voice or ﬁngers . This experience with simple , beautiful music should surround

th e n ood o h m child at home , but th e singi g of g s ngs in the o e

e‘0 9 - 29 c-o 9 M U S I C A P P R E C I A T I O N

v fe seems to be a lost art , if we e er possessed it , and very w may have it in early baby days . The situation demands that this lack be supplied in the kindergarten and early primary grades . Countless times it has beer said that experience should precede formal instruction , but how many , many times over we see poor little children struggling to master the

music la n u printed symbols of the g a ge, which they have

never heard . One groans to think of the aggregate tons of sheet music

that have been worn to tatters , of the miles of scales , and the years of practice wasted without any real music expe

rience . , appreciation , or ambition

e e Time was when it was impossible to xperien c music , except for the few who were fortunate enough to have pianos or organs and someone to play them ; but that

time is past . It is just as easy to present the literature of ’

i . the world s best music , as it s its poetry In literary courses it is the LI TE RA TU R E I TS ELF that counts and reading courses are preceded with much

hearing of the language . We should also surround

ood music children with the g , which is their heritage , that they may have the love of music as a foundation on which

to build . M odern methods of rearing children have made lulla L bies almost obsolete . ullabies are the ﬁrst songs a child

should hear , and the Victor educational material includes many of the oldest and most beautiful of the world ’ s “

lullabies , especially made for little children , lest we ” forget . These and many oth er simple and direct melodies have “ ” — been sung with sympathetic solo instrument the — ta . so violin , viola , clarinet , celes , etc that children may

m go w e B E G I N N I N G C U L T U R A L H E A R I N G enjoy and desire to hum them at the very beginning of

- their journey into tone land , whether it be in the school ,

- or at the sleepy time at home . — Let the children hear these over and over hum with

them when they care to , and make them indeed their own

inheritance . Rec ord 1 8622 contains several little bits of tunes that

are dear to all the older generation .

H ush M Ba be u R , y is one of these treas res by ousseau ( 1712 with words written by Watt for his own children :

H a La n d Hin oosta n ppy , an old d air , is the simplest familiar exa mple of the pentatonic scale

Come Thou F ount o Ever Blessin f y g, by Wyeth , has held its plac e through the years

Th e re erse s e of rec or 18622 c on ta n s Lu lla b ro n Erminie v id d i y f , by k b k B rds in th e N i ht l e re r Ja o ows i a nd i Su a n . a on e a n d , g , by l iv Th y l g a bit too n tr ca te to resen t for umm n bu t a re e u s te ts of i i p h i g , xq i i bi e u s e r h e us c be r e in th e str me t l b a ty j u t to h a . T m i will p in t d in u n a

sec tion .

- - R oc k a b ye , Ba b y 18664

«0 0 31 0 M U S I C A P P R E C I A T I O N

Ad es t e F id el es 18664

C ra dl e S o n g (Bra hm s ) 18664

Na za reth (Gounod) 18664

Th e F irs t Now el l (Tra dition a l) 18664

S eren a d e ( M oszk o wski) 64576

a s The next one is played on sweet little bells , the children say . The children may play they are violins and ” “sing with the music if they can be Violins that are “ t sweet and ﬁne enough to play with h e little bells .

S il en t Nigh t (Gruber) 17842

To a W il d R os e ( M a c Do w ell) 17691

Tra u m erei (Sc hu ma n n ) 64 197 or 18049

M U S I C A P P R E C I A T I O N

- sion of self c onsc iousness , into freedom , grace and poise .

Awkward and self- conscious adults all about us are the

result of a childhood spent without rhythmical play . Physical response to the conscious hearing of music should be fostered and developed during plastic years by

cons tant and insistent exposure to strongly - accented good

music .

Nor does the so - called taking music lessons insure

real rhythmic feeling . It would be wonderful if all singers and players of whatever instrument could really realize

the li e that rhythm is f of music , and that he who destroys

its rhythm takes away its life . Because rhythmic feeling is so basic and fundamental h in p ysical freedom and grace , and because it carries over

a ll into kinds of musical expression , several schools or sys

tems have been organized , primarily for rhythmic develop S ment . Chief among these are the Eurythmic chools ,

D z founded by alcro e . A specialist would be required to teac h any of these

systems , but ideas which are practical for the public school classrooms have gradually been utilized by wide

- awake teachers everywhere , until to day rhythmic development is assuming its proper place as a n eces sary prerequisite to all musical understanding or expression . The Victrola is an absolute necessity to this rhythmic u n awakening in the primary grades . If the children are ow n rhythmic , and the only music they have is their ? unrhythmical singing, how can they be swayed by rhythm

H o w , unless they hear it , accurately and masterfully — played ? And how can they hear rea l music rhythmica l

—n music i th e great mass ofpublic school classrooms , except th rou gh th e mechanical instrument ? R H Y T H M

In the deﬁnite rhyth m work prepared for lower grades , we have c onsidered four pha ses of rhyth mic development

1 . Free expression .

2 . S uggested expression .

3 . Loosely organized games .

4 . H ighly organized games . M usic prepared and selected for this work is classiﬁed u nder the above headings .

FREE EXPRESSION The earliest evidence of the fact that music really does educa te (referring to the original and root meaning of the “ ” word , which is to lead out ) is the forcible manner in “ ” ’ which it lead s out a little child s desire for expression , which manifests itself in spontaneous bodily ac tivity of some kind . This natural interpretation of the music is “ termed Free Expression . ’ ex ression If it is , indeed , it must be the child s bodily p

his own Hi of conception of the music . s expression will ,

therefore , be in exact proportion to his conception or recep l tion of the music , and will necessari y depend on his ability to sense the rhythm , the tempo , the changes from fast to — slow loud and soft . Such work develops his alertness ,

attention , and bodily grace alike . Beautiful work of this nature is being done by kinder garten specialists who are fortunate enough to have h a s a piano and are able to play it skilfully , but it not

been generally attempted . The free expression work as taught in the kinder h ’ C gartens of Teac ers College , olumbia University , reveals

- se veral well ordered steps of development .

0 35 m M U S I C A P P R E C I A T I O N

i First , the ch ldren listen to a portion of the music , thinking what the music tells them to do . Secondly , all children express in bodily ac tivity anything the music says to them . C d hil ren will instinctively watch each other , and quite na turally the next step will be for them to criticize each other , and ﬁnally to pick out the several interpretations th that ey think are best .

ac Then the te her enters into the discussion , and by “ ’ ” wh D adroit questioning , leads to the question of y onald s “ ” h ' n is best . This why turns t e a tten tio to the technic of th e dance .

n After further discussion , the children will ﬁ ally settle upon one or two that they are willing to accept as a standard .

All watch the child leader, then all do it again . It has bee n proved much safer to allow this sta ndard

to be set by the children . When the teacher illustrates by

ni her own action , there is not the i tiative on the part of the children thereafter, but rather a tendency to imitate

the teacher arbitrarily . It is very important that the child leader be selected nl by the children themselves , with o y indirect leadings

from the teac her . It must not take on the aspect of dis

ones but playing the more talented , must be an encourage

ment and a model for a ll to try .

In rare cases , where there is no one who seems to be

moved to do any particular thing , it is better to invite some child to come back from last year ’ s class than for

the teacher to set a standard for them . Great care has been exercised in selecting the followmg

e r Victor r cords , which are very simple and ve y rhythmic , the use of which will make free expression work possible in

0 36 m R H Y T H M

a n r r e y kinderga ten or prima y schoo l room . In b ginning l the work , on y the ﬁrst strain of each number should be used over and over . Pizzica to is a great favorite for the ﬁrst steps in doing

Grétr Ga votte 64198 what the music says . y (Rec ord ) is

slowenough and very deﬁnite and simple for beginning work . The following list is suggested for free expression work

Ca nzonetta 64784 M ilita ry Escort 17368 C upid a nd th e Butterﬂy 35532 M usette (Gluck) 183 14 Da nce of th e Ha ppy Spirits 74567 On th e Wing 17368 18216 Sc herzo (Ditt—ersdorf) 74294 Ga votte (Popper) 45 116 Sylvia Ba llet Pizzica to Ga votte (Gretry) 64198 Ta ra ntella 17 174 ’ Golden Trumpet Sch ottisc he 35228 Teddy Bea rs Picnic 16001 La Cinq ua nta i—ne 18296 Wild Horsema n 18598 M rr M a kers ell G 18164 ll a m ell Ba llet M us c e y N wyn Wi i T i , M enuet V a lensin 451 16 ' ( ) I , II M inuet (Ha ydn M ilita ry) 62660

SUGGESTED EXPRESSION

Suggestions as to the interpretation or a proposed bodily expression of music may come from the title of the e selection , or from the teac her or leader, and a re limit d

only by the ingenuity of the latter . i Ch ldren love action , and the joy of moving with the “ wi s music ll cau e them to listen , that they ma y keep ” with the music , and so begin a conscious hearing . With

conscious hearing comes the beginning of discrimination . No better means can be devised than to appeal to the

- play instinct of the child . To step as high stepping l horses step , to ﬂy as birds ﬂy , to bounce ba ls as the music

- e: indicates , skipping , marching, tip toeing, rocking a cradl — he all these devices are pure play to the child , but to t teacher they are the development of rhythmic ideas and coiirdina tion their with bodily expression .

Reco rd in prepa ra tion

R II Y T 11 M

Then there are the more set responses , such as regular

calisthenic drills given to music , and the unlimited variety of suggestions which the teacher may incorporate into a “ ” game that the child ren like to call follow the lead er. If

a given to an entire cl ss when seated , these would include any rhythmic motions of hands and arms,and orderly clap

ping to accent . Sudden and unexpected changes by the ” lead er stimulate a lertness a n d observation . The same idea has come down to us in the old French ’ ’ a La M ist en l A ire g me , (playing a tune in the air),

Did You Ever S ee a La ssie and in the singing games ,

u c llo and P n hine . M aking long and short marks on the blac kboard in response to the strong and weak pulses of a march is a fas ” cin a in t t g game , and has direct bearing on later wri ing

to music . Hand clapping was the ﬁrst primitive attempt a t rh yth

mic expression , and still remains the earliest response of a C baby child to rhythmic stimulus . lapping or marking

th e should be given ﬁrst only with strong accent , and later with strong and weak . Playing orchestra furnishes an opportunity for

ch rhythmic response and suggested expression , whi at the same time develops observation and interest in the in stru ments of the orchestra . At ﬁrst , all the children may be

l o a lowed to pretend to play violins , or s me one instrument ,

th e with the music , later it is more interesting to divide class into several sections .

s o o o u o l a o n ? Th ese tw o rows m a y pla y vio li n . H w d y h d vi li ? Wha t d o y ou h o ld in yo ur right h a n d Pla c e th e h o w o n th e stri n gs — I ﬁ o rc str ll ll to et er o ut in o u t in . n a n e e a a so . N ow a g h , , , h w ro s la ru m s th e pla yers b o w togeth er Th e n ext t o w ma y p y d . ? W o u ld y o u ra ther pla y a l ittle dru m or a big b a ss dru m N ext row s A to th e n e t row o u e er see t ose ma y pla y pia n o . nd ( x ) did y v h big

0 39 0 M U S I C A P P R E C I A T I O N

? ‘ ’ ’ — s et s ho rn s th a t a re pla yed so They a re c a lled tro mbo n e . L ll o l o r tr r lef w th e r t a n a u om o n e in o u t a n . N o t h d b h d , wi h igh h d

ou t , in , o ut , in . “ r r h e lea er f a n o rc estra I s ha ll b e lea der of th e o c hest a . T d o h s r r r is c a lled by th e a me n a me a s t h e ma n w h o ru n s a street c a o t a i n . ’ ’ Yes o r e c o uc o r s e ks t h is orc estra h e c a n t c o n d uc t . Wh n a n d t p a o h use or s ec a use if e er o ne is la n n o o n e c o ul ea r h im w d , b v y p yi g d h h e o es s e k o h e t lks to t e o rc estra t h is a n s . W en p a . S a h h wi h h d h d ‘ t s ra s n th e a n s fo r a ttent o n h e mea ns et o ur instru hi ( i i g h d i ) , g y ’ e r e h oes t s o a r ea t h e mea ns to m n ts ea dy . Wh n e d hi (d w nw d b ) ’ la a n d h e c a n t sa a n t n a t a ll to h is m en u n less t e lo ok p y , y y hi g h y ’ h is s l c a N o et s ra c ti e . t ha n d . w p

If the teacher will be strict to see that no one plays ’ n th n the pretended instrume t before e conductor s sig al ,

n as he would do if it were a real instrume t , our little game

will furnish exe rcise for self- control and actual practice

in ensemble playing . Now

sta rt a march record , all playing imaginary in stru

ments with the music , but following the conductor for the signal to sta rt and

stop . Allow various chil dren from the cla ss to ta ke th e baton and play

h ea tin conductor , g time

precisely with the music . Such opportunity for self expression draws out a

dormant rhythmic sense . helps the bashful child to LEADER or THE BAND overcome self conscious

ness , and teaches the obstreperous one to direct his energy . Any good brass band march from th ose listed in the Graded School Catalogue will ma ke a proper a c i compa n ment .

«0 0 40 0

M U S I C A P P R E C I A T I O N

M z Bu r h ena l i iss Eli abeth c , the leading spirit in d s seminating these delightful games and dances in America , “ reminds us that they have sprung naturally from the hearts of simple , wholesome country folk in response to

- e the human need for self xpression . We are cautioned

e to ke p the exercise a real form of play , simple , wholesome , unconscious and spontaneous , and to use them to bring about a happy feeling among the dancers , rather than to make a pleasant sight for onlookers . This new form of rec reation points the way to a return of the old - time com munity life , with its genuine expression of group feeling , which modern conventions have almost obliterated . Games call forth even keener discrimination than free or suggested expression , for each series of actions has its

z appropriate music . Children must recogni e and respond to these changes .

Folk dances develop more concentration than the games .

a It is well ﬁrst to play the dance through , to est blish the feeling of the rhythm , then explain the steps or move ith ments of the game , and teach these by ﬁrst counting w ou t the music . Then play over the record as far as ex plained , so that the pupils may assimilate the melody ,

Th e action , and rhythm . instructor may choose one boy or girl and go through the exercise . Then the class may th go through th e ﬁrst movement wi the music . If not

withou t done correctly , stop the record , and drill again music . The spirit of the dance is dependent upon the

tem o not proper p , and must be reta rded , nor played slow a nd out of the true tempo while learning . (In the catalog

- list of folk game records , the names of the books from which the selection has been taken are given . )

With regard to marching, the classes should always be

t n a h be h cau io ed to tre d lig tly , so that the music may eard F O L K G A M E S

in all parts Of the building . Our special marching records 1 12 are made at metronome , which is a good march time

R 1 16- 132 for schools . egular band marches are made , and are often too fast for school use . The time and the choice of march selections should be governed by actual

n requireme ts in th e school . 10 0 3e orga n ized rhyth mic respon se includes simple sing ing games , such as the following , not demanding accurate

n response from th e in dividual child . Direction s for teachi g

- n in th ese well kn ow n ga mes are fou d many books , notably

S n M H . i ging Games , by ari ofer , published by A Flan

a . nag n Company , Chicago

Did You Ever See a La ss ie 17568 Looby LOO F rst of M a Th e 17761 M ufﬁ n M a n i y , ’ Here We GO Ro und th e M ul Needle s Eye err Bus 17 104 Oa ts ea s Bea ns b y h , P , ’ How D ye Do M y Pa rtner 17568 Round a nd Round Let Us Cha se th e Sq ui rrel 17568 Soldier Boy

— DI ER BOY S A N D K DER RTE . SOL ONG DRILL, IN GA N R RD K E EDY SC O H HA VA NN HOOL, MA A

M 4S 0 M U S I C A P P R E C I A T I O N

CARROUSEL

n With the following simple folk da ces , suitable for

kindergarten and primary presentation , we enter the ﬁeld

hi hl r n d of g y o ga ize rhythmic expression . We have here listed folk dances consisting of set i f ﬁgures , and requ ring some degree O accuracy from each

participant . Full directions for all these dances and games are

f z B rc n l found in a series O books by Eli abeth u h e a , pub li h s ed . S C . by G chirmer ompany , New York Ca rrousel 17086 Kinderpolka Chimes of D unkirk 17327 Kla ppda ns ’ Da nce of Greeting 17158 La ssies Da nce ’ Fa ra ndole 18368 Lott ist Tod ’ Gusta f s Ska l 17330 Seven Jumps o M or nn ka 17331 Se en rett G r s H pp, A i v P y i l ’ I See You 17158 Shoema ker s Da nce Jolly is th e M iller 17567 M ETER SENSING

I n h n a nd all the above , the c ildre have been feeling “

h . hearing rhythm . T ey have been learning to listen They will now apply their former rhyth mic experien ce to “ ”

Of n . the problem meter sensing , and will listen to lear h If the rhyt mic foundation is strong , the recognition of accent will be merely naming an old friend , and the ear analysis of measure is the logical outcome , and the next i mportant step in rhythmic development .

«0 9 44 0 M E T E R S E N S I N G

Children may indicate this accent through v arious

actions suggested by the teacher . They may nod hea ds , pick ﬂowers , make long marks , circles , or clap hands with the strong accent .

a z When the strong pulse is re d ily recogni ed , attention

should be directed to the unac cented pulses in the measure . The next step should be a conscious comparison of l strong and weak pu ses . They may be expressed with a a loud cl p for the strong, and a soft clap for the unaccented

s pul e ; with long and short marks , or big and little circles on the blackboard or in the air .

s on one This is followed by counting oftly ( e, two , or , tw o , three)as the music is heard , placing the emphasis on

ﬁr l the st pu se noting the weak beats between . Care always has been taken in music work to see that

r children can read the time signa ture co rectly , with their

e es music n o . h y ; but , after all , is t visible T e importance of this recognition Of m ea sure through the ca r can hardly b o e t o strongly emphas ized . In listing these compositions for this early listening w r t ork , elementa y rhythms, hose having one sound to the count , or very simple combinations , have been chosen , as complex rhythm would cause confusion and uncertainty .

Ama ryllis M a zurka (Chopi n) Colombia Wa ltz M enuett (Don Giov a n Com Soldiers ni) Dorothy Ga votte 74444 M inuet in G (Bee Ga votte (Gossec ) th ov en ) Ga votte (Gretry) M inuet (Pa derewski) G a nts Th e Our tt e G r s i , Li l i l I n th e Belfry See Sa w I See You Singing Sc hool

a ck - in- th e- u t S u rre Th e J P lpi q i l , La Cinq ua nta i ne Wedding Of th e Winds ’ M a s Little Pigs Wild Horsema n Windmill B R E TON TH E SONG OF TH E LA RK SON G

ONG has ever bee n the most intimate vehicle

- l . B of se f expression efore speech was , song

Of r w a s a c ude sort used , and remains the

herita ge of every child . The increasing use of instruments and ins trumental music does not in any way

n r mi imize the value , and should not cu tail in any degree the use of songs in the classroom . The inﬂuence of so much good instrumental music s h o u l d operate only to raise the standard of the songs used , and to save much time in learning the worthy ones by the accentuated ear

n trai ing thus gained . Every song given to little children should be questioned from many angles . First of all , is its text good poetry , and is the meaning suitable for ch ildren ? Is the thought - content worthy a place in the impres siona ble mind of a little w e e r m m 1m m I “B child ? Such a little mind S NGING BOYS W ‘T OOK is like the wax disc of th e recordin g laboratory a n d registers faithfully whatever is sent to it through the — - o e receiving horn the ear gate t the inn r shrine .

240 9 47 00 ? M U ' S I C A P P R E C I A T I O N

If the selec tions in the readers used must be viseed l with scrupulous care , then the texts of the songs shou d

ten for be times doubly so , the added melody makes a deeper impression , and is , therefore , remembered through life w ith absolute ﬁdelity . When the text has passed such ? rigid examination , what of the melody Is it simple and

ﬁne , beautiful and pleasing , or banal , commonplace , and u ninteresting ? What of the accompaniment ? is it good or bad musically ? Does it consist simply of the tonic

- chord with an occas ional plain sub dominant or dominant , perhaps actually wrong progressions and chords , or is it dainty and delicate in its use of modern harmonies , little ff ? contrapuntal e ects , etc . What can we say of the rhythm ? We have learned

Of s that as rhythm is the Oldest of the elements music , o is it the ﬁrst to be developed naturally by the child in a modern scientiﬁc training in music . The song work should conform to this law of develop ment . There should be presented those songs of strong r rhythmic characte , which lend themselves to a rhythmic

w z response , and those songs hich may be dramati ed , not “ ” the old motion songs with absurd cut - a nd - dried “ ” “ ” e rin pointings and g stu gs , but those in which each

be child may some character or idea , and where individual ity may have full play in the characterization . C are should always be taken that no singing be attempted by any child undergoing violent or extra or

in d a ry physical activity .

Then there are those songs which are of quiet , sweet thought , contemplative , imaginative , which teach a

r . mo al , a lesson in manners , or are simply things of beauty In kin dergarten a n d ﬁrst grade the rhyth mic and

a dra ma tic son gs should predominate . In second gr de

«0 9 48 04 9

M U S I C A P P R E C I A T I O N

FIRST GRADE

RHYTHMIC Little Bo - Peep ttle ck om er Bea n Porridge Hot Li Ja H M r. cken Bla cksmith Chi M r rr l . S u e Bylo q i Old M ot er ub a rd Corn Soldiers h H b Sing a Song of Sixpence Fire, Th e Go to Slee ol PoE 'rI c p , D ly Hea r th e M usic of th e Drum Ba by Dear 17937 Little Shoema ker Blue Bird 17776 Pit- a - Pa t Bobby Sha fto 17937 u l a C err Bunn Th e 177 6 P l h y y, 7 R de a Coc k orse ddle ddl e um l n 35225 i H Di , Di , D p i g Biggety Jig Feas t of La nterns 18076 See- Sa w M a r er Da w Geor ie or e 180 6 , g y g P gi 7 Singing School I Love Little Pussy 18076 Sleighing Song Little Bo- Peep 17004 dm ll Th e ttle B rdie 17 6 Win i , Li i 77 Na m ng th e Trees 177 19 DR i AMATIC Pussy Ca t 18076 Ba a Ba a Bla ck S ee Six ttle u es 17776 , , h p Li P ppi

G a nts Th e Tiddlel - W nks a nd Tiddlel i , y i y He ddle ddle Wee y , Di , Di How M a ny M iles to Ba by Tra cks in th e Snow lon w nkle nkle T i , Twi SECOND GRADE RHYTHMIC Old Cha nticleer ds Th e Bla cksmith t , Wise Bl l’ d Th e I n th e Belfry , Little Shoema ker POETIC Our F a l g Butterc ups Ra n So n i g Ca t- Ta ils Rock- a - b e Ba y , by Cherry Sweet erc ses Sca le Ex i Dew ro D p , A Ja ck - in- th e- Pulpit Slee Ba Slee ’ p , by , p M other s Pra yer l rs So die t n a le Th e Nigh i g , S n Son 18665 wi g g Our Fla g ck- ck 18649 Ti To Poppy La dy Tulips Pretty Tulip W ndm ll The i i , Ra in Song

Rock - a - b e Ba DRAMATIC y , by S ee Ba Slee l p , by , p Bla cksmith 18649 Sweet Pea La dies ttle S oe ma ker 17937 olet Th e Li h Vi , ” M r rke M r uck a nd . u 17776 W a t oes ttle B r e Sa . D T y h D Li i di y

Record in prepa ra tion «0 9 50 00 9 S O N G

THIRD GRADE

RHYTHMIC C uckoo M usic Da ff odils Bla cksmith Gingerbrea d M a n Cuck- COO Clock Good- Night a nd Christma s Ha nd Orga n Pra yer See- Sa w Household Hints Sleighing Song Ja p Doll Slumber Boa t Little Christma s Shoes Song of Iron M a rguerites Sta r C ld hi , A M erry Christma s Tick- Tock 18649 M y Sha dow Tulips Our Fla g

Owl , Th e DRAMATIC Robin Red Brea st Gingerbrea d M a n Slumber Song un r W ndm ll Th e olets H g y i i , Vi ’ Lea ves Pa rty Woodpec ker ost l o Th e P i i n, Song of Iron PATRIOTIC America P T OE IC Our Fla g utumn ulla Red W te a nd Blue A L by , hi Butterc ups 18649 Soldier Boy

It would indeed be carrying coals to Newcastle to write out extended analyses for th ese simple and well

know n songs , as most of them are known and used by H . w teachers everywhere o ever , teaching directions for

fe m a w numbers , chosen at rando , are here given as

suggestions .

S s imilar points of interest may be found in all the other , and each song should be carefully taught with full regard h to its thought content , and its rhyt mic and dramatic

possibilities . — — Riggety J ig (3 - 4 Rhythm K ey of G) 17719

s l t e m ke- e e e rse ck r a t o Thi is j ust a ga y it l a b li v ho ba ide . Wh j y there is in riding a stick horse " No doubt th e universa l love of such pla y

Record in prepa ra tion M U S I C A P P R E C I A T I O N

comes from th e sa me root a s th e old M orr s a nces ere th e st ck is i d , wh i a dorned with a ca rved hea d a n d ga ily ca pa risoned a s a knight in h is a rmor : So fa st so fa st m orse ca n o , y h g , 0 ri et ri et ou kno gg y , gg y jig, y w ; ’ He s ust th e ra nc of a illo tree j b h w w , 0 ri et i o e u s e . gg y j g , y — - w S ee Sa w , M a rgery Da 18330

See- Sa w M a r er Da w is rea t fun if en t th e r t m c s n , g y g giv wi h hy h i wi g ing from side to side of th e cla sped ha nds of couples Of c hildren a nd a t th e l t l e u ck turn n u n er th e a rms ra se o er s a s n q g d , d g ea d , h a n ds i i ly i “ i hi h v h ” st ll c a s e c we use to ca l r n n th e s clot a nd a so i l p d, whi h d l w i gi g di h h , l “ ’ th e sa me a s th e old a e Wa s th e a s s es a n em on th e ” g m h L dy Di h , H g Th

Bus es etc . h ,

Lit tl e Sh o em a k er—17937

’ it ho ma ker rs G r r is The L tle S e s e of M . I t i on a yno s popula songs . best ta ught with children sitting on ﬂoor or on tops of desks (fa cing ba ck f r o t lef foot a cr ss t e r s e f s le r I er o o m t o h t knee o o u a . n ) wi h igh , id pw d p fec t r t ta te se n t tw nee es cr ss t r u u n m m g o dl , o ng o g a nd g hy h i i wi wi h “ i h h ”p lli ut th e e t r At th e or s a ra - a - ta - ta soft o long a n h ea d . w d p p p ly . w x oun in ma ke- el e e o en e s ta sole of s oe t a lm d od g , ng p b i v w p “by ppi ” h wi h p r rmon ous tit - - tee ot n e c e of t a n . At th e a ta t a s c n d igh h d h i b h h ”d l h r ma k n s s r u s e th e ma oun ea c ot e . At oe fo o a nd me re um y p d h h i g h y , h r e ec K ee t e t m rf t . sewing . p hy h p ly

’ — Th e Lea v es Pa rty 18074

C oose a n num er of c ren for ea es one for ort W n a nd h y b hild L v , N h i d , r r ur rst erse c re come runn n in th e bo one fo nte . n n Wi D i g fi v , hild i g , ld r At e o seco erse ort n o t W n fo o n . nn n f n W N h i d ll wi g b gi i g d v , N h i d As h e rt n e ns to lo ent th e ea es a nc n merr l . t o W b gi b w g ly , l v d i g i y N h i d o s more a nd more ercel h e tosses th e ea es to a nd fro unt t e bl w fi y , L v il h y r I th e t r erse k a me na ll fa e a uste to th e ou n . n n fi y ll xh d g d hi d v , i d D W nter comes ook n t n l o n u on th e t re ea es sh e ent i , l i g pi yi g y d w p i d L v , g ly er of s covers them with h ma ntle now .

Th e Bl a ck sm it h —17937

The Bla cksmith is Of course erfectl t me for m ta t on t im , , p y i d i i i wi h r s ere s ou be a t ea st one or tw o tr a n es a t a n p omptu a nvil . Th h ld l i gl h d l h e c s ma use th e ron fra me ork of th e sea t str k n t whi e t la s y i w , i i g wi h penc ils or wooden sticks whic h should be a regula r pa rt of the eq uipment k r r e Sets for o t er rooms c ou be ma e ea s th e of th e in de ga t n . h ld d ily by r s ma nua l t a ining boy .

«0 9 52 0 S O N G — Pit - a - Pa t 17596

Pit- a - Pa t is cha rming if a ccompa nied by a light ta pping of fingers on F ers s oul a l a s rk i rota t s re erse fiv fi desks . ing h d w y wo n ion a a v d e nger r s s l h ls r h c s r e e c e u n on t e na ne e t e u on a nd ne e a ll to et er . x i , i g y i , v hi , v g h — Lit tl e BO - Peep 17004

N o ma iden in a ll history is more emblema tic of tha t cha rming in s s r f r l I efﬁc ienc y tha t eem to ha ve he eto o e be onged to woma nkind . n h er da y - drea ming sh e not only lost h er sheep but a fter ineff ectua l sea rc h t e ing seemed q uite content to lea ve them o their fa t . — Ba a , Ba a , Bl a ck S h eep 17937

Ba a Ba a Bla ck Shee ma be dra ma t zed a n o e c l for , , p y i by h vi g n hi d th e ttle B a ck S ee a nd t ree for th e M a ster th e a me a n th e li l h p , h , D , d l a s r n out th e lue f th l t Little Boy . A w y b i g va O e woo of h e bla ck sheep A e sure t re is tha t needs no dye . nd b he no thought of a ny reﬂection a s r r rese h l s f th e r s th e usua nte eta t on . nt too t e e son o e ne o t th e l i p i P , , g i y, s l e s rom t ess f th e t le l ck s k n es o t nes a nd n o l t a ee . i dlin , p i , p p i b h p

Old C h a n tic l eer —17513

O e c s on th e stool is a nt cleer . H cr s s n d ta n n e o a nd cro . hil di g Ch i ” w w Victrola sta rts a nd sings Cock - a - doodle- doo a nd c hild pompously

h e sec k - - o l - l o ns in a nd s n s t on oc a o e doo . C ren s n j i i g d C d d hi d i g”,

- - - You th nk our o ce is er ﬁne etc . At ords ock a doodle doo i y v i v y , w C c l ren cro t en a nt cleer t en ot cro to et er for th e re hi d w , h Ch i , h b h w g h ma inder of th e song not er suggestion : let a ll th e c ldren in th e room a t e a re A h hi “ pl y h”y rec r c l e ro k - - l - C a nt cleer. Sta rt o d r n c n oc a dood e doo t h i , hi d wi g C ”wi h r h rec r s n Y u t k ur o ce r th e reco d . Let t e o d g o n o is e ﬁne, etc . i hi y “ v i v y c l ren a ns er n ea c t me it comes to ock - a - e- a nd hi d w i g h i C doodl doo .

M any problems , which later are to arise , may well be

experienced in these lower grades by simply hearing ,

without comment or explanation , many things which later

may be studied deﬁnitely .

Of such are the songs in the minor mode , such as

Crooked M a n 18076 La M ere M ic hel ’ ’ Ew a - Yea " 35617 La M ist en l Aire Her Bla nket 18418 M y Sha dow Ja p Doll 18015 Wa h - w a h - ta ysee 35617

Record in prepa ra tion

ao9 53 ao 9 M U S I C A P P R E C I A T I O N

There is no need to mention the word minor , but later the song will be remembered . In the same way ,

‘ there is a ﬁne body of song material which should be sung

to or n ot or played and f little children , but with any idea of their imitating or reproducing such songs . Of these the following list will be excellent as appreciation songs , which may be heard to wonderful advantage

Slee ttle Ba of M ine Jo of th e M ornin p , Li by 17212 y g 17693 Slumber Sea Boa t Song } ’ Cra dle Son Bra ms a a th a s C ld oo 35617 g ( h ) 18440 Hi w hi h d Little Dustma n Th e Sa ndma n 64220 Slumber Boa t 18448 Little Boy Blue 64605 ’ Picka ninny s Lulla by Ha rk "Ha rk "th e La rk 64218 ’ 17039 M a mm s Son LO ere th e Gentle a rk 64267 y g , H L Spa nish Gypsy Th e Wren 64792 Lithua nia n Folk Songs 18330 Th e Swa llows 64392 Lin den Tree

ese th ree l - r r tr uced i t rd ra e (Th a st na med eco ds ma y be in od n hi g d , a nd ma y be ea sily presented th rough compa ring colora tura sopra no o r s t bi d . ) There are numerous beautiful lullabies which all children know but whose words are in most cases too

ze - Old mature for childish tongues . To utili these world melodies without the tangle of diﬁ cult words , a consider v i able number have been recorded by olin , viola , English

h um horn , etc . , for the children to with and so make them

S c . their own . These will be treated in the Instrumental e tion In the same way we are presenting the principal themes from some of the great compositions of symphony and r oratorio , which should make up a cherished sto e of the ’ C H child s repertoire . These appear in the ultural earing and Instrumental Sec tions . A veritable storehouse of Old melodies has been un ’ ea rthed in Old French tunes of children s songs and games . M any of these were early ad opted by German compilers r of folk tunes and , in turn , have found their way into g eat F R E N C H S O N G S

n umbers of our own school music books , credited wrongly a to German sources , when , in fac t , they were of typic lly

French origin . A splendid number Of these have bee n recorded in ﬁne French diction with just the right spirit by a French artist , Eva Gauthier , the ac companiments arranged and B l . p ayed by another French artist , M r ourdon , both of “ whom lived them all in their childhood . These melodies are found plentifully in our school a i a re ders with Engl sh versions , and the work of te ching them will be minimized by humming the melodies earlier for listening lessons . The English words here given are a free literal trans not v ersiﬁed lation simply to give the thought . They are

f . for singing , and singing O them is of course impossible n They are , therefore , Offered as humming material o ly , 72165 unless the French be attempted . (Records and

B u . The free translations a re by M r . Rosario o rdon

AU CLAIR DE LA LUNE BY THE M OONLIGHT

Au cla ire de la lune B th e moonl t , y igh , M on a mi errot M fr en errot Pi , y i d, Pi , Préte moi ta plume Lend me your pen r ir u r ou ecr e t . s P n mo To write a few wo d . M a c a ndelle est morte M ca le is out h , y nd , ’ Je a i l e s de u . re l t n p u f I ha ve no mo igh . Ouvre moi ta porte Open your door ’ ’

ur l ur eu . Po a mo de Di For pity s sa ke .

Au cla ir de la lune B h e moon t , y t ligh , Pierrot repondit Pierrot a nswered ; ’ Je n a i pa s de plume I ha ve no pen ; Je su s a ns mon lit a m in bed i d , I , V a chez la voisine GO to th e neighbor ’ Je cro s u e le est t sh e is in i q l y , I hink , C a r da ns sa cuisine For in h er kitc hen

le r e str k n a ﬁre . On ba t b iq u t . Someo ne is i i g

55 m M U S I C A P P R E C I A T I O N

French English I T I s I T I s A I L R ER RAINING , R INING , PLEUT , IL PLEUT , BE G E SHEPHERDESS I l leut il leut er ere p , p , b g , I t is ra n n it is ra n n S e i i g , i i g, h p Rentre tes bla ncs moutons er ess h d , llons a ma c a um ere A h i , Br n in our te la mbs i g y whi , Bergere v ite a llons ; ’ Let us go to my h ut . J entends sous le feuilla ge u ck come S e er ess ’ Q i , h ph d , ea u ui tombe a ra nd ru t L q g b i , ’ I hea r under th e folia ge o c en r l ora e V i i v i g , ’ Ra indrops fa lling with a grea t Voila l ecla ir q ui luit . no se i , ere comes th e storm H , ’ r s l s r The e th e ightning o b ight .

F rench English PROMENADE EN BATEAU BOAT TRIP

Au coura nt de la r ere B th e curren t of th e r er ivi y iv , G sse sse l sse oucemen t G e e l de entl li , gli , g i d ; lid , glid , g i g y ; Gl sse l sse l sse sse Gl e l de l e l de i , g i , g i , gli , id , g i , g id , g i , G sse l sse a r ue le ere " Gl de l e l t cra ft " li , g i , b q g i , g id , igh Gl sse l sse a r ue le ere Gl e l de l t cra ft i , g i , b q g , id , g i , igh , G sse sse l sse doucement " Gl de l de e ent " li , gli , g i i , g i , glid g ly

French English

FA I s COLAs GO S C OLAs DODO , TO LEEP, ’ Fa s dodo o a s mon tit frere Go to slee Co a s m l tt e i , C l , p , p , l , y i l Fa s do o tu a ura s du lolo rot er Go to slee ou s l i d , ; b h , p , y ha l a a est en a ut a e some ca n P p h , h v dy ui fa t des sa ots a a is u sta rs M a k n oo e Q i b ; P p p i , i g w d n M a ma n est en h a s s oes M a ma is do n sta irs , h ; w , K s k s u s . tt Q i fa it de ba s ni ing toc ing .

F rench English

? SAVEZ - VOUS PLANTER LEs C noux DO YOU KNOW How TO PLANT ? Sa ez- ous la nter les c ou C A B B A GEs v v p h x , la mode a la mode A , , Do ou kno h ow to la n t ca b Sa ez- ous la nter les c ou y w p v v p h x , a es A la mode de chez nous ? b g , fter th e fas on a fter th e fas on A hi , hi , On les la nte a ec le e DO ou kno h ow to a t c p v pi d, y w pl n a b la mo e a la mo e a es A d , d , b g ? On les la nte a ec le e fter th e fa s on a t ome p v pi d , A hi h

A la mode de chez nous .

On les la nte a ec la ma n a n We la nt t em t th e foot p v i (h d), p h wi h , la mode a la mo e fter th e fa s on a fter th e fa s on A , d , A hi , hi , On les la nte a ec la ma n We la nt t em t th e foo t p v i , p h wi h , l a mo e e c ez s . f r f A d d h nou A te th e a shion a t home .

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M U S I C A P P R E C I A T I O N

M A LBROUCK M ALBOROUGH ’ ’ M a l rouck s en v a t en uerre M a l orou is o n to w a r b g , b gh g i g , M ironton m ronton mironta ine M ironton mironton mironta ine , i , ; , , ’ ’ M a rouck s en v a t en uerre M a l orou is o n to wa r lb g , b gh g i g , N e sa it q ua n d reviendra ; Does not know when h e sha ll re N e sa t ua n rev en ra turn i q d i d , , N e sa it q ua nd reviendra " Does not know when h e sha ll re ’ ’ M a rouck s en v a t en uerre turn lb g , , M ronton m ron ton mironta ine oes not kno en h e s a ll re i , i , ; D w wh h ’ ’ M a l rouck s en v a t en uerre turn " b g , N e sa t ua re r M r i r n en a . a o ou s o n to wa i q d vi d lb gh g i g , in e M ironton , mironton , mironta ; M a l orou is o n to w a r b gh g i g , Does not know when h e sha ll re

turn .

French English

’ LE PONT D AVIGNON THE BRIDGE AT AVIGNON ’ Sur le ont d Av i non On th e r e a t non p g , b idg Avig ’ ’ L On a nse l on a nse e a nce t e a nce y d , y d ; Th y d , h y d ; ’ Sur le ont d Av i non On th e r e a t non p g , b idg Avig ’

ll in a r n . L on a nse tout e ron . e a nce a y d n d Th y d , i g ’ Les ea u mess eurs font comm a 1 Th e a n some men do ke t s b x i 9 , ( ) h d li hi , ’ ’

E s r An t en a a n l k e t s . t pui enco comm ca . d h g i i hi — ” l I n singing Th e ha n dsome men do like th is imita te gentlemen i n th e a ct of bowin g .

’ Sur le ont d Av i non On th e r e a t non p g , b idg Avig ’ ’ L on a nse l on a nse e a nce t e a nc y d , y d ; Th y d , h y d e; ’ Sur le ont d Av i non On th e r e a t n on p g , b idg Avig ’

ll in r n . L on a nse tout en ron . e a nce a a d d Th y d , i g ’ ’ Les el s a mes fon t c omm a 2 Th e ea ut fu a es do ke th s b l d c , ( ) b i l l di li i , ’ ’

Et s e c r An t en a a n l ke t s . pui n o comm 9a . d h g i i hi — 2 Imita te la dies in th e a c t of curtsy mg .

Fren ch English

AH " S R - J E AH " S YOU VOU DI AI , MAMAN HOULD I TELL , MAMA

" ous ra - e ma ma n " s oul te l ou ma ma Ah v di i j , , Ah h d I l y , , ? Ce q ui ca use mon tourment " Wha t is th e ca use of my distress Pa pa veut q ue je ra isonne comme Pa pa wa nts me to rea son like a une gra nde person ne grown - up person : M oi je dis q ue les bonbons But I sa y tha t c a n dies

a le e e l r s Are ort more t a n rea son . V nt mi ux q u a a i on . w h h F R E N C H S O N G S

English LA BONNE AVENTURE THE HAPPY EVENT

c su s un ent l ou on a m a cute l ttle da rl n J i g i p p I i i g, De elle ure And oo look n b ﬁg , g d i g, Q ui a ime bien les bonbons Wh o is v ery fon d of ca ndy l E es c t s . t onﬁ ure And preserves . ’ Si ous oulez m en onner I f ou ll e me some v v d , y wi giv ,

Je sa ur r s ll r l e t . a i bien ma nge . I ha su e y a t hem La onne a enture Th e a e ent b v , h ppy v , Oh " ga i" Oh " joy " La bonne a venture " Th e ha ppy event "

e sera sa e et en h on ll be oo a nd be a e J i g bi , I wi g d h v , ur la ire r T r Po p a ma me e . o plea se my mothe . e sa ura en ma le on s a ll kno m lesson J i bi c , I h w y , Pour pla ire A mon pére ; To plea se my fa ther ; Je v eu en les con ten ter a m il n to ma ke t em a x bi , I w li g h h ppy , ’ ’ Et s ls eulent m embrasser And if t e a nt to k ss me i v , h y w i , La bonne a enture Th e a e ent v , h ppy v , Oh " ga i" Oh " joy " La o nne a enture " Th e a e e t b v h ppy v n .

English ’ J A I DU BON TAB AC I HAVE SOME GOOD SNUFF ’ J a i du bon ta ba c da ns ma ta ba I ha ve some good snuff in my snuff t ere box i , , ’ ’ a i du bon ta a c un n en a ura s a e some oo snuff ou s a ll J b , I h v g d , y h

a s . not a e a p h v ny . ’ en a i du fin et du en ra é a e some t a t is fine a nd some J bi p , I h v h , ’ ui ne s ra a s our ton fich u nez " ell ra te Q p p w g d , ’ J a i du h on ta ba c da ns ma ta ba But tha t is not for your sorry nose " t ere a e some s uff in m snuff i , I h v good n y ’ ’ J a i du bon ta a c tu n en a ura s box b , , l a s . a e some oo snuff ou s a p I h v g d , y h l

not ha ve a ny . F rench E l h LA CASQ UETTE DU PERE BUGEAUD ng is F A D 5 CA P As- tu v u la c s uette la ca s uette ATHER BUGE U a q , q , — ’ As tu v u la ca sq uett a u pére Bu Did you see th e ca p ? th e ca p ? ’ gea ud ? Did you see Fa ther Bugea ud s ca p ? ’ lle est fa t la ca s uette la ca s I t is ma e th e ca th e ca E i q d , p , p, ’ uette c s r q I t is ma de of a mel ha i . ’ Elle est fa it a vec du poil de c h a

mea u . — OTE ur n th e wa r in er a in 1840 a Frenc a m wa s N D i g Alg i , , h C p ca ught in a surprise a tta ck by th e Ara bs ; M a rsha ll Bugea ud ca me rush in o of his ent to et a th T th e el t of h is g ut t g t e hea d of h is troops . o d igh M U S I C A P P R E C I A T I O N

so ers h e foun th a t h e st l h a d h is oo en n t- ca on h is ea d th e ldi , d il w l igh p h ; “ ” Z oua v es immedia tely sta rted to sing this little song with th e im rov ised or s a nd it h a s e er s nce rema ned th e ma rc t a t often p w d , v i i h h r led th e French on to victo y .

English FRERE JACQ UES BROTHER JAMES Frere a c ues Brot er a mes J q , h J , ? Frere a c ues ormez- ous ? Brot er a mes a re ou a s ee J q , d v h J , y l p Dormez- vous ? Are you as leep? S nez les ma t nes R n for th e morn n ra ers on i , i g i g p y , Sonnez les ma t nes R n for th e mornin ra ers i , i g g p y , Din din don " n n don " , , Di g, di g, g Din din don " n in on " , , Di g, d g, d g

F rench English ’ ’ LA MIST EN L AIRE TH E TUN E IN THE AI R

Bo omme on omme ue sa ez M oo ma n m oo ma n a t nh , b h , q v y g d , y g d , wh vous fa ire ? do you do ? ’ Sa vez- vous j ouer de la mist - en Do y ou know h ow to pla y a tune in ’ ? l a ire ? th e a ir ’ ’ ’ ’ a re l a re l a re de la m st - en Air a ir a ir a tune in th e a ir? L i , i , i , i , , , ’ l a ire ? Ah " a h " a h " wha t do y ou do ? ? Ah " a h " a h " q ue sa vez- vous fa ire

i a circle ur n th e rst e t mea sures a e a n ds in th e Da nce n d i g ” ﬁ igh ; w v h a ir le s n n Air a ir a ir tur n a roun a nd cla a n s le sa n whi i g”i g , , , d p h d whi yi g ck I c f th e succee n erses " h "a h " t en o a to e nn n . n ea o Ah a h g b” b gi i g h di g v repla ce th e word Air with th e na me of a musica l instrument of tw o ’ m t n th e ma ner s la les l ke ol n cello o oe a ssoon etc . le ta n yl b , i vi i , , b , b , , whi i i i g e r me ts e t e t en o a ck to th e four re ea ted of la ng th nst u n m n on d , g p yi i “ i h b” p me ures t Air a ir a ir a tune in th e a ir t c it a l a s a wi h , , , , wi h whi h w y isies ﬁn .

’ ’ LA MIST EN L AI RE F R E N C H S O N G S

Au C l a ir d e l a Lu n e 72165 A

Prom en a d e en Ba tea u 72165 A

F a is o d o D , C o la s 72165 A

S a v ez - v o u s Pl a n ter l es C h o u x 72165 B

r m T i i 721 B T e pe on Pa n , M a r e 65

La M ere M ich el 72165 A

Ah " ou s ira i - e M a m a n 72166 V D j .

La B o n n e Av en tu re 72166

’ J a i d a Bon Ta ba c 72166

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INSTRUMENTAL MUSIC

TI L N recently , all music in our public schools has been vocal — music that the students m could ake themselves , with possibly an

c r be o casional a tist concert , which soon

comes only a ﬂeeting memory . The time has now come when an entirely new world O may be pened to the children , to remain as their perma nent possession : the wonderfully beautiful and varied

realm of instrumental music . An awakened interest in instrumental music is evi

u Of de ced everywhere in the increased number orchestras , in the widespread movement for the organization of h orc estras in schools , and in classroom instruction in the

Bu t : study of violin and piano . the question arises what provision is being made for pupils to learn to listen to instrumental classics played by artists and orchestras of recognized ability ? Such music literature is the mu sic itsel f , easily heard , loved , and understood by all . The instrumental music which the student should hear and study as a model for his own reproduction ﬁnds its

ﬂower in the symphony , which is acknowledged to be the highest type of music . The foundation for the adequate appreciation of such music should be laid in early child hood through simple types and selections , and developed

in accordance with the growing powers of the child , in conformity with the principles of modern pedagogy and child study .

0 63 00 9 M U S I C A P P R E C I A T I O N

The teacher of music appreciation has two immediate

: r problems ﬁ st , the selection of material appropriate as to quality and content secondly , the study of the manner of presenting the selections used .

In selecting material for primary grades , the following points should be considered : (1) The selection should be 2 strongly rhythmic in character . ( )The melody should be 3 tuneful . ( ) The music should be played by a solo in stru . Of s ment or by simple combinations in truments . The violin , ’ xylophone , bells , cello , or ﬂute , are especially appropriate

- I instruments for presenting music to little children . n this connection it should be remembered that the interest ’ from the pupils point of view is not in the instrument as

nl ff such , but o y as a means of producing tonal e ects C pleasing and proper for children to hear . ombinations

Of these instruments with others in duets , trios , quartets ,

and light orchestras may be used . All of the instrumental music suggested for use in th e

: rh thmic ﬁrst three grades may be divided as follows y ,

d i iv u r l aes hetic a e l M escr t e e t a . p , and music with p y pp any selections necessarily belong to more than one of these

classes , but their classiﬁcation will be determined accord ing to which characteristic is considered predominant for

the present .

Unfortunately , material limitations make it necessary th at these types of instrumental music be treated one at a

r . time , but it should not be so in presentation to the child en

f s As a problem , O cour e , rhythm comes ﬁrst , but nothing is

further from our minds at this time than problems . We desire only that the child may be attracted suﬂicien tly to

want to listen , and to like what he hears . Something descriptive of things in his own world may ﬁ catch his attention rst , or he might be delighted with a

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M U S I C A P P R E C I A T I O N

however , go far to prove that little children , entirely unaided by question or suggestion , will generally give evidence of having received the impression intended by the composer . If, in addition to the title , a few words of

be suggestion a s to the setting , atmosphere , or color given , the greatest enjoyment is evidenced by the children in l tel ing what the music means to them personally .

Th e Sw a n —4 5096

This celebrated co mposition by the noted French ' composer Saint - Saens (S a n h - S a hn ) is an excellent ex ample oi descriptive music which is also replete with

iva l o . The a rn poetic beauty It is from the suite , C f

A nima ls S , in which aint Saens pictured in tone the portraits and habits Of certain birds and

animals . The smoothly ﬂowing melody sung by the ’ broad - toned cello repre sents the swan as it glides gracefully over the placid

lake , the peaceful silence broken only by the ripples Of the water on the stones suggested by the delicate

piano accompaniment . C a n you tell when the swan pauses and raises his head ? Where do you ﬁnd a picture of a sparkling little waterfall ? This selection may be a ssociated with the familiar story of

The Ugly Du ckling .

«0 9 66 0 D E S C R I P T I V E M U S I C

A t th e Brook —64103 This charming tone picture of a brook rippling over the smooth pebbles is characterized by a ﬂowing melody

r . played on the violin , accompanied by the ha p What does the violin describe ? The harp ? Note how pleasing variety is secured by repetition of the main theme in

r Of varying pitch and keys . What is the artistic pu pose the violin cadenza ? Does the music suggest that in places the brook runs more smoothl y than in others ? — By t h e Brook 17844 l (See a n a ysi s of Record N O .

’ This is an attractive arrangement for violin , cello , and piano .

Th e B ee—64076

This delightful little piece Of musical description w a s

written for the violin by Francois Schubert , a violinist D of resden , not the famous song writer of Vienna . The music re p r e s e n t s the bu zzing of the bee as it darts from ﬂower to ﬂower in search Of the

sweetest honey . The

zz bu ing , uneven rhythm , and the constant altera tions in pitch picture the erratic ﬂight Of the

busy little creature . Two pizzicato chords at the close tell us that the bee has found the ﬂower which contains the honey he

disa seeks , a n d h a s p

pea red from sight . M U S I C A P P R E C I A T I O N

M in u t e W a l tz —64076

The M in ute Wa ltz is so called because it can be played f within the spac e O a minute . The French call it The Little Dog Wa ltz because of the story Of how the pianist

C Show - a hn hopin ( p ) came to compose it . C hopin and

George Sand , the famous woman

novelist , were one day amused at the a ntics of a little dog whirling mad ly around trying

t a to ca ch its t il . “ Ha d I your nim ” ble ﬁngers , sa id the lady to Ch o ‘ pin , I should com pose a waltz for ” the little fellow " Acting on this

la ful su estion p y gg , the composer went to the piano and played this dainty number , which pictures the rapid whirlings of the little dog . Sometimes the music suggests that the dog is be coming dizzy and nearly loses his balance . Very small ch ildren will be able to tell when the music says the little dog is chasing his tail , when he is resting , and when he again catches sight and starts the chas e Of the S elusive tail . uch theme recognition is the ﬁrst step M P toward later work in music al form . aud owell arranged this selec tion for violin . The Bee and the M in ute Wa ltz are presented in detail in the model lessons for ﬁrst grade . D E S C R I P T I V E M U S I C

’ — T ed dy Bea rs Picn ic 16001 This is a prime favorite “ ” with the littlest ones . The slow march time with clock like rhythm strongly accented makes the selection excellent

for free expression . The bears are having as noisy a picnic as ever did little children , and every child delights in the de lic ious fearsomeness of the very

- realistic teddy bear growls .

— M a rc h of th e Toys 55054

In his fantastic light opera ,

Ba bes in To la nd r y , Victor He bert brings to life the gay

l e persona iti s of the toy shop . With the ﬁrst fanfare of little tin horns at the Opening of

this jolly march , we can pic ture the parade Of an imals and

dolls and tin soldiers , with all the tinsel and pomp of their

z bi arre little world .

I n a Cl oc k S tor e—35324

’ I want to a sk you a riddle . The word riddle means ‘ ’ a question , and I wonder if you can guess this one . What is it that has a round face and two hands—only it ’ o d esn t wear its hands at its side as we do , but they grow

«0 9 69 0 M U S I C A P P R E C I A T I O N right out Of the middle Of its face ? Who knows ? (If h i only one child raises s hand , a s is often the case , let him whisper to you , and have it a secret with you till

. S others ﬁnd it ometimes it may be necessary to hint , by suggesting that there is one on the wall somewhere in the room . When all the children , through the guessing , have become thoroughly interested in clocks , continue . ) “ Let us play that we go into a clock store and see how many kinds of clocks

we can ﬁn d .

(Play I n a Clock Store. ) “ ” The tick - tocks immedi

ately attract the children , but in the case of very small children the little

minds soon w a n der . (Since our purpose at this time is to create an atmosphere i of active l stening , it has been found valuable to stop the record after the ﬁrst section and lead the little minds with some such conversation as the following . ) Now , I want to tell you a story about bo this clock store where we are . There is a little y who works in this store and he ’ s the happiest little fellow you ever saw , and every morning when he comes whistles to work he just throws his head back and , see oh , so happily " Now it would be nice if we could this ’ see him little boy when he comes to work , but we can t at

all . C a n we ? How will we know when he comes to ” work ? (Often the children do not think of perceiving

0 70 0 D E S C R I P T I V E M U S I C

through hearing . ) What else have we to use besides our

ea rs hea r eyes Yes , and if we use our what shall we when the boy comes to work ? We shall hea r him whistle.

Now , when your ears tell you the boy h a s come to work ” - t you may wave good morning to him . (Le record play r until the children have g eeted the boy , after which one might continue the visit in the clock store in the following mann er . ) But one night the boy forgot something that he ought ’

. or et r to do You know what it means to f g , for I m su e your mammas have told you to do things which you have forgotten to do . Well , this little boy forgot something , ’ and I m not going to tell you what it was at all , and we shall see if your ears can tell you what he forgot to do .

(If their ears fail to tell them , a s will be the case with

many primary children , do not tell them , or allow the h hi unusually brig t c ld to do so , for all may be helped to

s ense the fact that the clocks run down , by playing “ tick Place right elbows on desk and swing arms

to music , being very careful to listen and to stay with the “ “ tick - tocks (then suddenly a sk): What happened to

- ? your tick tock It stopped . And what is the matter with ’ ’ - a tick tock if it stops , when it isn t broken ? After the

clocks are wound , one of them strikes a little tune that you ” know . Several children will quickly recognize the scale ,

: Did do re mi but ask it sing , , , or begin at the top and

do ti la sing , , , (And so continue on through the l record , a lowing the children to discover deﬁnite things for

themselves through their own active listening , such as what time was it ? Wh at kind Of shoes did he wear ? H ow many kinds Of clocks can you hear ? What is the

larges t one ? etc . , etc . )

0 71 0 M U S I C A P P R E C I A T I O N — Pa trio tic M ed l ey 35657

If you would do what that music tells you to do , what would you do ? (Play only the introduction by bugle

and drums . ) M arch . Well , if it is a march , who is march ing ? Why did you say soldiers and not school children ? ” What did you hear that mad e you think of soldiers ? (Even ﬁrst grade children will have discovered in one

hearing that it was bugle and drums . With third grade

e children and Older , they ma y be asked to give the piec a e name that will tell in words , not more than two or thre ,

what the music says . Such work furnishes an excellent l dri l for clear thinking and concise oral English work . Often such answers as the following are given : M ilitary ” ” M “ M ” “ arch , Victory arch , On to Victory , and many

others which accurately convey the spirit of the music .

— Th em e for High - S teppin g Hors es 18253 Perhaps the children have been permitted to be high

stepping horses , marching around the room to music in

the kindergarten or ﬁrst grade , but in cases where this

has not been done , it is interesting to present such music with contrasting compositions in the second or third ’ grades , for the children s discrimination . The imagination may be directed by telling a story for the ﬁrst one , and afterward let their imagination have full play . “ Have you ever been to a circus ? And when you were there did you see a lady riding a horse that kept step to the music ? I think this music will tell us about that

C ee beautiful proud horse . hildren may express the f ling “ ” of the music by stepping with th e arms on the desk .

When the feeling for the high - stepping horses is clearly

a a s est blished , suddenly give contrasting rhythm such

Runnin Rein deers 8253 : g , also on Record 1 What is this

«0 9 72 0

M U S I C A P P R E C I A T I O N

Th e Wh irlwin d

In this number the ﬂute gives us a very realistic imita i tion of a capricious little wh rlwind , as it plays and scamp

n s i s ers along , and ﬁ ally ﬂie away , in great glee over t

pranks . — Of a Ta il or a n d a B ea r 18598 The title Of a Ta ilor a nd a Bea r w a s no doubt

M D w ll th e suggested to M r . a c o e by Grimm fairy tale of the same “ Hi name . s music ” story does not a d here litera lly to th e

is printed one , but merely an episode s u g g e s t e d b y t h e

title . T h e interpreta tions which children

draw from the music , when given merely

the title , are indi vidual and interest S ing . uch episodes as the music sug

9 1 . gests are presented in M odel Lessons , page

S inn in S on The p g g, on the same record , is a simple and clear rhythmic imitation of that which the title

suggests . — - - R oc k a by e , Ba by 18664 Such numbers may be used in the little game of guess ” ing what the music says . The thought content is perhaps clearer if the pre v ious numbers were in sharp contrast ,

r r ra on Reco d in p epa ti . «0 9 74 «0 9 D E S C R I P T I V E M U S I C such as the types Which children would call Victory ” “ ” M hi R H . t s arch , or unning orses When a sked what i music says , ch ldren often give such irrelevant answers a s i ’ v olin (although it might happen to be a cello or viola). It must be remembered that our interest at this time is not in the instrument a s such , and the tea cher should post “ pone discussing the instrument . Yes , but what does the v iolin sa y to you ? What does it tell you to do ? C a n I call ‘ ’ ’ this M a H ? one Victory rch , or Galloping orses They will soon discover that it does not say to do any thing , but to be still and listen , and someone will say it “ ”

e . sounds like a sle py song Teach the word lullaby , and allow them to listen to the lovely lullaby as if they were r l ea ly going to sleep . Such a number at the close of the listening lesson l eaves the children composed and quiet . “ ’ Wouldn t it be nice if we could be as quiet and sweet all day—like that lovely lullaby ? — NOTE I nterpreta tions of other numbers in th e following list of desc riptive piec es a re suggested by th e titles with whic h th e com oser h a s la ele p b d them . DESCRIPTIVE

17600 Of a a lor a nd a Bea r At th e Br° ° k T i {64103 Pa triotic M edley

Bee Th e 64076 Rock - a - B e Ba , y , by Birds of th e Forest 16835 Running Il in deers 45158 S nn ng sgng Butter Th e pi i ﬂy’ {64706 Spring Voices B th e Brook 17844 S a n Th e y w , ’ a nse C no se e Bea rs cn c D hi i 45053 T ddy Pi i Da nse des M irlitons Theme for High- Stepping Da ns les Bois 74395 Horses Evening Chimes 18018 Twilight Founta n Th e 70031 a ltz n oll i , W i g D From a n n a n o e 17035 W r n Th e I di L dg hi lwi d , I n a Clock Store 35324 Whispering Flowers Little Hunters 18598 Wild Horsema n ’ M a rch of th e Toys 55054 Will- o - th e- Wisp M nute Wa ltz 64076 Wren Th e i ,

r r a ra t on Reco d in p ep i . M U S I C A P P R E C I A T I O N

C L C P S M DS AN D FAN IFU ONCE T , OO , ASSOC IATIONS

Since music is the language that begins where the power

ends O i i of the spoken word , it is bv ously impossible to m

pose upon it arbitrary classiﬁcations . The universal appeal of highly developed instrumental music is no doubt due to the fact that its in deﬁn iteness permits of many inter preta tions as varied as the life experiences and moods of

the hea rers .

B e Pa stora l S m hon When e thoven wrote the y p y , with m m its al ost visible pictures of the brook , the stor , the calm ,

a and its clear imit tion of sounds in nature , he appended to “ the score words which have been translated : M ore an ” expression Of feeling than Of painting . There are many feelings which are both the cause and the result Of music : feelings which associate themselves

a with the morning , or the evening , with t ngible sights of

nature or abstract moods . These emotions give rise to both the creative and inter — reta tiv e in - p elements in art pictures , word poetry , or M any of the accepted art forms . any more of them than

Off - people suppose , hand , are within the experience of very little children . They instinctively respond to the vigor Of

m Of a military arch , or are quieted by the inﬂuence a lullaby long before they know the meaning of the words “ ” vigor or repose .

S be a n ongs are , or should , the expression of emotion in

bo th poetry and music . Suggestions for integrating the mood of pictures and i C music , and of poems and mus c , appear in the orrelation chapter .

0 76 0 F A N C I F U L A S S O C I A T I O N S

The following list is suggestive of fanciful ass ociations “ of moods and music , or atmosphere , that are suited to the appreciation of little children .

w en in or M orn in A a k g , g Ha rk "Ha rk "th e La rk 6421 8 J oy of th e M orn i n g 1 7693 M orn n G r e 35470 35007 i g ( i g) , ’ —TO orro Beet o en s ra se M ornin fro m t e Peer N T , g h O E “ b w h v ph ” G nt S uite is more a n e ress o n of feel n t a n Of a n t n a nd y xp i i g h p i i g , oul a e to b e so use ere a s th e co m os t on rea e cts th e w d h v d h , p i i lly d pi c o m n of da o er th e sta tue of M emn on c eer sees in t i g y v whi h P Egyp , r i r e Th e l e en of h ow th e s t e fa r a wa y f om h s N o w gi a n h ome . g d ta u r s r r r r s i ngs wit h th e is i n g s u n must nec es a ily b e rese ved fo la ter wo k . r s s c r s f th e k e s s B tl n et . e e s e o a a n n ou n of i d , whi i g , , xp iv w i g d

a t ure m a b e fo un in C orre a t on t a t ure . N , y d l i wi h N

l C on ten t n t ea ce C u ra e n d P tr i i m Ca m , m e , P , o g a a o t s u iet R “ Q , e M a rch M ilita ire 35493 All rou th e i t Th gh N gh Pa triotic M edley M a rch 35608 B rce se e u Polona ise M ilita ire 35241 ir i h e ’ B ds n t Night See th e Con u rin ero . q g H us M y Ba e H h b“ ” Comes 18655 Lulla by from Erminie Nocturne in Fla t E Del ica cy a n d Da in tin ess Pa stora l Symphon y Da nce of Ha ‘ i Spirits 74567 ’y mby M a rc h M in ia fi e 64766 gifgfgﬁ ﬁi —i Ove tur M i dsummer Th e Swa g r e N g 8 Drea m Traumerei “a oau”;i um d Rose Serena de (Piern é)

ric i u l f u l Wa ltzin oll Ca p o s , P a y g D t en n Flo ers Ba di na ge 70053 p g w Ca pricieuse 64760 Humoresq ue 17454 or 74180 Even in g M im te Wa ltz 64076 i — All Through th e Night S l i Ba llet i zzica to y v a P Birds in th e Night Wh irlwmd Even ing Chimes us M Ba e H h , y b a i t J o Ha in ess ” C h eer , G e y , y , p p , u la from rm n e M ir t h L l by E i i ' ’ e Ba y ’ by At th e Brook 64103 fi figfi Ba ll et from Rosa munde 64670 Da nse des Mirlitons 45053 F iries M oment M usica l 18216 or 74202 a Pra eludium 18323 (See D elic a c y a n d D a i n tin ess

r a ra t o n Reco rd in p ep i . 0 77 0 M U S I C A P P R E C I A T I O N

PURE M USIC FOR "ESTHETIC ENJOYM ENT There remains the great ﬁeld of quiet enjoyment of h instrumental compositions , which are cultural throug

n n their i herent beauty of thought , form , and expressio , and which everyone loves just because they are beautiful . The public school classroom in this great democrac y of ours presents a strange and varied problem . There are l the chi dren from the homes of the rich and poor alike ,

Often representing many nationalities . Some have brought i the r excitement from the playground , others have brought a little heartache from home . One has a toy ; one has been P scolded ; another is tardy . erhaps , even the teacher her self may be all too tense to accomplish easily the task of somehow unifying these little minds and of ruling her own spirit for the daily round of studies . What more potent ally could she ﬁnd than a beautiful piece of music ? Some schools have adopted the habit of a silence ” period at the beginning of the day , during which just one beautiful number is played . It might be practical to place i the Victrola in the center hall for this work , allow ng all classes which are conveniently situated to listen at once .

If there is not an instrument for each ﬂoor , an alternate

f a day plan could be arranged . The teacher O the cl ss which is to hear the music could tell on her blackboard the name of the selection to be played . Others , who dare “ not take a few minutes from the so - called necessary

be or subjects , play such music ten minutes f e the opening of school . It is not Obligatory that the children should

a attend , but they re there , and the day begins happily and with no confusion . Certainly hearing and enjoying music just because it is beautiful should be a part of every appreciation lesson .

0 78 0 P U R E M U S I C

l n l If we earn to read by reading , the we earn to appreciate by appreciating . An appreciation course should not be “ ” ad motivated by the getting re y idea , but should be always an enjoyment of music now .

l ll e e s l in A chi d , or a musica y uneducat d p r on , is imited his ability to listen to and to appreciate intricate a nd com plex music , but his enjoyment of things within his compre h ension is without alloy . The habit of listening for pure m l e enjoyment is of the utmost i porta nce , and if esta b ish d

if . in school , it will remain a l elong benison Although we have no conscious problems in mind at “ n b - ll this time , certa i y products wi inevita bly result from such ac quain ta nce with the beautiful . A trained ear and an ability to distinguis h themes are natural consequences , and the power of theme recognition is a fundamental prerequisite for the la ter study Of musical “ form and other phases of listening to learn . Repeated hearing of music in the earlier years insures a wide acquaintance with many masterpieces , which is the Objective of the popula r and meritorious M usic M emory

C set se ste ontest , and the standard by hearing the ma r pieces interpreted by Victor artists furnishes a model in interpreta tion and tone quality for the later performance S of these selections by the children . uch contests function

l . in home , school , and club ife Often music clubs and musicia ns gladly coOpera te in focusing atten tion on the

l . specia selections After all , as Theodore Thomas said , “ Popular music is familiar music . Simple and beautiful masterpieces for such cultural l listening a re abundant . The list we have carefully se ected l includes many whose charm ies in their rhythm , and others that are dearly loved for their beautiful melodies , and sometimes for both .

0 79 0 M U S I C A P P R E C I A T I O N

PURE M USIC OF E STHETIC BEAUTY “ ” Ba llet Rosa mun de 64670 Pa stora l M erryma kers 18164 “ Berceuse from Joc elyn 17454 Pirouette 18223 ’ C upid s Ga rden 18018 Pra eludium (Jiirn efelt) 18323 Chr istmas Hymns 18389 Rec onc ilia tion Polka (Drigo)35644 Riga u don (M onsigny) 64201 ua nta ne La M a r e Cinq i , ( i ) — {3233 Rigodon Ra mea u 67201 Fedora Ga votte 17681 Ro ndino (Beethoven Ga votte (Aletter) 18243 K reisler) 64600 ’ Ga votte (Gossec ) 74444 Sa lut d Amour (Elga r) 64373 Ga votte (Grétry) 64198 Sc herzo (Dittersdorf) 74294 74180 Serena de (Piern é) 45 158 Humoresq ue (Dv oiak) {17454 Serena de (Tosti) 17472 l 17681 Serena e Sc u ert Idyl d ( h b ) 16995 Isoline Ba llet Va lse 67201 Serena de (Titl) ’ Liebesfreud (K reisler) 74196 Shepherd s Da nce (Germa n) 35530 ’ M en uett (Ha n del) 64841 Shepherd s Hey (Gra in ger) 17897 M inuet (Beethoven ) 74444 Silent Night 17842 18049 Sou venir (Drdla ) 64074 M in uet (Boccherini) {64614 Spa nish Da nce (Sa ras a te) 74366 M oment M usica l 74202 Spring Song (M endelssohn) 18648 M usette (Gluck) 18314 Sylv ia Ba llet Na rc issus (N evin) 17472 To a Wild Rose (M ac Dowell)17691 NOél 17842 Traumerei (Schuma nn ) 45102

t m inter re That theme recogni ion , emory repertoire , p be ta tion and tone quality may be further insured , and o cause instinctively we love to h um these beautiful mel dies , we are carrying further the idea inaugurated in Beginning 9 , C ultural Hearing . The simple selections listed there will be found attractive here also .

An da nte (Ha ydn Surprise) Le Cygne n a nte Beet o en F ft ulla (Bra ms) A d ( h v i h) L by h“ All Through th e Night Lulla by from Erminie “ Berceuse from Joc elyn M y Old K entuc ky Home Birds in th e Night Old Bla ck Joe Drink to M e Only Old Folks a t Home How Lovely a re th e M es Pa stora l Symphony ’ sengers Sa lut d Amour (Elga r) ’ Humoresq ue See th e Con q u ring Hero I f W t All our ea rts S r ng Son g (M en delsso n) i —h Y H p i h La rgo N ew World Sweet a nd Low

Speci a l record in prepa ra tio n .

«0 9 80 0

SUGGESTED LESSONS

EALI ZI N G the difﬁculty of the kindergarten and primary teacher in selecting numbers for a deﬁnite lesson from the mass of

z material now available , and reali ing , too , her eagerness for suggestions in actually

e presenting the records , we submit thr e little lessons each for kindergarten , ﬁrst , second , and third grades , respectively . These may be taken simply as suggestions , and the general ideas may be used in the planning and presentation of other lessons .

SUGGESTED LESSONS FOR KINDERGARTEN LESSON I M GOO ra ma t c Son OTHER— SE (D i g) S M Y BA B E sten n a nd umm n LULLABY HU H , (Li i g H i g) CUPID AND THE BUTTERFLY (Free Expression )

LESSON II SERENADE (M oszkowski) (Listen ing) 64281 or 64576 ’ TEDDY BEARS PICNIC (Descriptive Listen ing a nd Suggested Expression ) THE BUNNY (Listening) LESSON III WILD HORS EMAN (Descriptive) RIDE A COCK H—ORS E (Dra ma tic Song) ET Z Z TO Free ress on SYLVIA BALL PI ICA ( Ex—p i ) - THEME FOR HIGH STEPPING - HORS Es SKIPPING M OTIV E (Suggested Expression) 18253 LESSON I

H ow would you like to play we are having a party ? ’ M Only we aren t going to have anything to eat . aybe you will not like my party if we don ’ t have anything to f new O . eat , but this is a kind party Instead of having

r in re a ra t on Reco d p p i . 0 82 «0 9 S U G G E S T E D L E S S O N S

ea t hea r . something to , we are going to have something to ’ " Now , isn t that a funny kind of party

First of all , I have asked a lady to sing for us . I have thin k asked her to sing about somebody you know . I you know him - do you ?

M o th er G oose—17004

(Play enough of Little J a ck Horn er on 17004 for children to recognize . ) ? Whom is she singing about Yes , I thought you knew ’ L him . Now , let s listen to the whole song about ittle

P . Jack Horner . ( lay song through ) ? ? Where was Jack Hom er What was he doing Yes , ’ he ? ood ? had something to eat , didn t he Was he a g boy S Le t me see how good you think you are . ( uggest expres — sion thumbs in arm holes and swell , as with great pride . ) ’ Le t s pretend we eat pie with Little Jack Horner .

P dra ma ti ( lay song through again , this time leading in its

z i n a t o . ) L H M ’ ittle Jack orner is one of other Goose s children ,

and she has the most stories for her little girls and boys .

P He This is one of them . Have you heard it? ( lay y ,

Diddle, Diddle ? Who can tell me that story Yes , the cat had a ﬁddle , D and what a good time they did have . o you think the cow liked the music ? How well ? And did the little dog like it ? And what did the dish do ? And after he has eaten his supper and heard M other Goose ’s story about all these things that happened when L l the cat played his ﬁddle , itt e Jack Horner is ready to i f hear th s kind O music .

0 83 0 M U S I C A P P R E C I A T I O N

l a b —H h M Ba b e—18622 Lu l y u s , y

(Play record through ﬁrst strain . ) ? What does it make us feel like doing Yes , it does ’ ? Let make us feel sleepy , doesn t it us put our heads down and listen to this beautiful music as if we were

P . really going to sleep . ( lay record through )

I suspect Little Jack Horner is almost asleep . If we

would hum very softly I think he would go sound asleep .

(Hum with record . ) — C u pid a n d th e Bu t terﬂy 35532 - B

Now it is night . The babies are asleep , and the good

. Let fairies come to play us listen to this music , and see

if you can tell what it says to do . P ( lay only the ﬁrst part of the record , which consists

of a short introduction and one strain repeated . ) Repeat the music until the children have surely sensed the

rhythm , and want to try to express it . m You a y all dance with the music , and do whatever

it tells you to do . (If the interpretations are uncertain ,

stop and have them listen over , and over , and over, but if the work is free expression the teacher must not make

suggestions under a ny circumstances . When the children have received a message from the music , and are able to m t atte pt to express it , they will instinc ively watch each

other . ) ’ Now let s watch Donald do it . That was very nice . M ? M ’ ? ary , will you do it for us You liked ary s best ’ Yes , she was much more quiet , but she didn t stop when D the music did . You think onald keeps with the music b D M etter? The music told onald to skip , and ary to ’ ’ ﬂy , didn t it ? Emma s hands and arms were much more ’ ’

M h . like birds wings than ary s were , I t ink

«0 9 84 0 S U G G E S T E D L E S S O N S

d tr . Yes , Edwar , you may y it Oh , what a pretty bow Edward made just before he began to dance " He must

have thought he was a fairy that came to dance for us . (Through such discussion several details will be brought l l out . The chi dren with less initiative wil have received suggestions and courage to try again . )

LESSON II

Perhaps you have been to a concert sometime with your papas and mammas . This morning we are going to

have a concert right here in our own little kindergarten .

A lady will play a Violin solo for us . We cannot see her , but she loved little boys and girls like you , and loved to

a play for little people , so we must be just s still and polite

rea ll while the music plays as if she were y here .

S eren a d e—64281 or 64576

(It is better to play only ﬁrst part , unless the children

r ll to listen are able ea y to the entire selection . )

’ — Teddy Bea rs Pic n ic 16001 The next music we are going to hear has something in

Y u it that you would like to have for a toy . o like a tra in? ’

A doll . y , etc (Allow children s discussion to anticipate what

See his toy this one may be . ) if you can tell what t sounds l P Of ike . ( lay enough record for children to ﬁnd the

b z . ears , and to recogni e them again ) B I think these Teddy ears are going to a picnic . ’ Be Le t s pretend we are going to the picnic , too . sure B m . to listen to the usic , and keep with the Teddy ears

0 85 0 M U S I C A P P R E C I A T I O N — Th e Bu n n y 17776

’ ’ ? He I m sure you know a bunny , too , don t you hi is such a nice pet . I should think he could hear everyt ng “ ’ i hi B w th s ears so long . ut I guess the reason he s so

l . still , is cause he ikes my song

LESSON III

W ild H orsem a n —18598

Girls and boys , let us listen to this whole story in music and see if we can tell what it is about . You think ? it is about horses . What ma de you think that You l say you could hear their feet as they were galloping a ong .

(Permit the children to make up their own story . ) — R id e a Cock Horse 17004 L A lady is going to sing us a story about a horse . isten i a n d see if you ever heard of him . Is he just the same k nd of horse the others were ? How is he going ? Is he ? i walking , runn ing , or galloping (Children may mitate gal loping of horses by placing hands in front Of them as if holding reins and moving the body to give the motion of

the galloping horse . There need be no actual galloping

around the room unless it is so desired . )

— " Syl v ia B a ll et Pizzica to

In beginning free expression work , use the ﬁrst strain

Le . only . For presentation , see sson I for Kindergarten

h em e f or Hi h - S te in H orses T g pp g 18253 M otiv e for Skippin g }

ni Close the period with u ﬁed work , through suggested

- expression . Allow all to play high stepping horses , and

then to skip together .

i Record n prepa ra tion .

«0 9 86 0 S U G G E S T E D L E S S O N S

SUGGESTED LESSONS FOR FIRST GRADE

LESSON I

M INUTE WA LTz (Descriptive) 64076 I N LILAC TI ME (Rhythm) 35397 H ow MANY M ILES To BABYLON (D ra ma tic Song) 17937

R CK - A - B Y m 18664 O BYE, BA (Hum ing)

LESSON II

TH E BEE (Descriptive Listeni ng) NAMI NG TH E TREES (Rote Song) DOROTHY GAVOTTE (Free Expression or Sugges ted Rhythm) 18216 LESSON I I I

BA A BA A LACK ra ma t c Son , , B SHEEP (D i g) HAPPY LAND (Hindoosta n Air) (Humming) THE WREN (Listening)

LESSON I

Th e M in u te Wa l t z—64076 Once upon a time there was a lady who had a nice little

. S . dog ome of you have dogs for playmates , I know One i day th s lady wa s sitting in a chair resting, and she thought the little dog was lying right beside her . He was at ﬁrst , but all of a sudden he saw something that he thought he B could catch . ut the faster he went , the faster this thing ’

l . He u . he was r nning after went Yes , it was his tai didn t SO ni know it was fastened on . he kept on run ng until he l grew so tired he had to lie down to rest . Wh i e he was lying there he saw his tail again , so up he got and began l to run . This time he ran so fast and such a ong time he l just fell right over on the ﬂoor . This ady had a friend who said he knew just how to tell that story for boys and Let see i girls in music . This is the way he told it . us f

Reco rd in prepa ra tion .

«0 9 87 0 M U S I C A P P R E C I A T I O N

we can tell when the little dog begins to run , when he grows so tired he has to lie down , then when he gets up aga in , and when he gets so tired he just falls down with a bang .

(Play record . )

— I n Lil a c Tim e 35397 ” How many of you have played Follow the Leader ? Did you bring two good eyes to day ? And what about your

— su re h a r ears are you they can e the music ? (Play record . ) The teacher may indicate a variety of hand and arm

s r n movements which are a response to the t o g pulse only . ” f “ Hand clapping is one O the favorite stunts . In such work it is helpful to divide the room into two sec ” “ tions , and let one side play audience and listen to the ” music which the other side makes with their ha nds . Such a device furthers rhythmic development and ear

training simultaneously , and functions deﬁnitely in better

marching . The clapping game may even be called “ marching with our hands . “ L For suggestions on Follow the eader , see page 39 . — H ow M a n y M il es t o Ba b yl on 17937

Girls and boys , let us see if we can discover where H ? these people are going . ow far is it When can I get there ? Who is going ? Where is it ? (Room may be

divided into two parts , one group asking questions , the

other group answering . )

— - - R ock a b ye , B a b y 18664

’ The next piece of music doesn t tell us a story , or make i us want to do anything but just s t very still and listen .

(Play a strain of the music . ) You think it says to put the

«0 9 88 0

M U S I C A P P R E C I A T I O N — Na m in g th e Trees 17719 Di Let us make believe we a re in a park . d you meet any friends in this nice park? I sa w so many . There M P M lVI i M Oh was iss ine , and iss Oak, and ss aple , and , ,

DO ? so many others . you know who my friends are

DO you know th e trees by na me? sk e s r (A m boy a nd gi ls . ) r l t en es e t n e . (Tea c he h giv n x i ”) Wh en you see them growing .

(Children repea t . ) e r I n th ﬁelds o in th e woods . r (Child en repea t . ) r They a re well wo t h knowing . r r (C hild en epea t . )

Let (After the words have been taught , continue . ) us hear the lady sing . Perhaps we know the song she will

P re sing . ( lay record . ) Yes , it is the very one we we just saying . L ’ I saw someone saying the words with the lady . et s

l . P all do that ; just move our lips , not a sing e sound ( lay i n ul record again . ) Now hear the l ttle tune . I thi k we co d

Let i . sing with the lady . us l sten and sing just as she does

P . r ( lay again ) Allow child en to hum , and then sing words , with and without the re cord . — Doroth y G a v otte 18216

This number is attractive to hear, or may be used for

- free expression work .

LESSON III

—17937 B a a , Ba a , Bla c k Sh eep

n A lady is going to sing a song for us . I thi k if we brought good ears , perhaps we can tell what she is singing .

DO ? C r in (Pla y record . ) you know it ( hild en th k they

«0 9 90 0 S U G G E S T E D L E S S O N S

know song if they are familiar with words . ) Does this song tell you what color this sheep was ? Did you know a ni that bl ck wool is much cer than white wool ? And , too , ’ it couldn t fade , because it is really black and not dyed . Was this black sheep selﬁsh ? What answer did he make ? H when asked if he had any wool e was very polite , too , “ i ’ say ng , Yes sir , Yes sir Wasn t he a good sheep to remember his master , and his dame , and the little boy who lived in the lane who needed nice warm clothes ?

J a ck H orn er . (Teach as ) On repetition , it may be

z dramati ed by having children for sheep , master , dame ,

and little boy .

— H a ppy La n d (Hindoosta n Air) 18622

Le t us listen to the beautiful melody and hum the

tune softly .

Th e Wren

’ r This music has no words , and I am su e we couldn t ’

. SO hum it let s pretend we are at a concert , and just

listen . This is a picture of the instrument that is going f to play for you . (Use chart from Instruments O the

Orchestra set . See page Perhaps you will see one

some day . Its music is very happy and pretty .

SUGGESTED LESSONS FOR SECOND GRADE

LESSON I — AT TH E BROOK (Descriptive) C A T- TAILS (Listening) LULLABY (Bra hms) (Humming)

ecord in re a ra t on R p p i .

«0 9 91 0 M U S I C A P P R E C I A T I O N

LESSON II

M ELODY IN F (Listening) (First Pa rt) OF A TAI LOR AND A BEAR (Desc riptive)

M R . M r DUC K AND R . TURKEY (D a ma tic Song)

LESSON III

TO A WILD ROS E (Listeni ng) BUTTERC UPS (Listeni ng) RHYTH M M EDLEY (Suggested Expressio n)

LESSON I

A t th e Bro ok— 64 103 Have you ever seen a brook ? Isn ’ t it a happy little ? stream You think of a little brook you have seen . The

Of little brook I am thinking was ﬂowing along so happily ,

w a s . S when I ﬁrst saw it , nothing in its way oon it came

s la sh B to some rocks , and p it went over those . y e and

bye it came to a waterfall , and then it ﬂowed happily on . Let us make believe we are walking beside this little brook

I saw . Tell me when we come to the rocks and the P waterfall . ( lay record . )

0 9 2 0 S U G G E S T E D L E S S O N S — C a t - Ta iIs l 8015

La ter in the summer , just a short way from this lovely

sa brook, in a marshy place , I w some ladies all dressed

in brown velvet jackets . They seemed to be getting ready

f e o r winter . They had be n growing all spring and sum M ad . mer . y , how proudly they held their he s Would ? you like to hear about them (Give words Of song . Then

N a m h r s teach as ing t e T ee . ) — Lu l la b y (Bra h m s) 18664

C n This is for listening and humming . a you hum ? sweetly enough to sing with this lovely music

LESSO — N II M el ody in F 45096 B oys and girls , let us put our heads down and just rest and listen . — Of a Ta il o r a n d a Bea r 18598

Of a Ta ilor a nd a Bea r is a charming setting of an

Old M a cDo ell r n om de lume tale by w , w itten under the p

Of of Edgar Thorn . One may tell the children the happy tailor who loved music and kept a violin near his bench .

While at work one day , he heard a commotion outside , but thinking it was nothing important went on working . In another moment he was frightened almost out of his L k wits by seeing a great bear in his doorway . uc ily he remembered insta ntly that bears love music , just as little

z . children do , and he sei ed his Violin and began tuning it

And what do you think , that bear just reared right up on his hind feet and began to dance round and round slowly

«0 9 93 0 M U S I C A P P R E C I A T I O N

and clumsily , growling all the time , which was his way of

c saying he liked it , be ause , you see , he was a tame dancing P ff bear . retty soon he got down and went o , and the poor

a t ilor was so happy , for at ﬁrst he had thought perhaps

e r the b ar might eat him up . Just as he started to th ead a

needle , dear me , he heard the bear growl again outside his But h im door . I guess his master must have come for ,

because he went away again . This time the tailor

heaved a sigh of relief, and was so thankful and happy that he began to whistle and made his needle ﬂy as he M heard the bear going away , growling every step . ( ost modern teachers will prefer to let the children hear the i record , and by adroit questioning draw from them the r

own version of the story . )

k — u c a n d M r. rk 1 M r . D Tu ey 7776

Let h e us listen to this lady sing . S is going to tell us a

story . I wonder who can tell me what it is all about .

(Allow children to give back story , which may then be

z taught and sung in usual way . The following dramati a

tion might also be given . )

Choose one child for duck , and another for turkey .

c Sele t place for home of each . D U CK — M R . C hild squats down , knees bent , forearms

Of raised to level bust , elbows drawn back as far as possible , f hands dropped at the wrist sti ﬂy , with head nodding , he

walks waddling fashion . — M R . U R K E Y B T ody bent slightly at waist , to assist in

throwing out chest to fullest extent ; thumbs in arm holes , head nodding slowly and majestically ; walk with prancing

step to imitate strut of turkey .

Suit action to the words of the song . D M . r uck goes to call on M r . Turkey , walking in

0 94 0 S U G G E S T E D L E S S O N S

Ho ? manner described above . At words w do you do

a M . he m kes more elaborate bow and quacks . r Turkey D answers with his gobble . M r . uck turns to go home and

M r . Turkey says he will go with him , so they walk along together , the duck waddling , and the turkey gobbling .

LESSON 111

To a Wild R ose—17691

B H ou oys and girls , you have all seen a wild rose . ave y not ? C a n you think of one now ? Once a musician t wanted to tell us of a very beautiful wild rose . Le us close our eyes and hear the story he told in the beautiful

l . melody . It is as dainty and de icate as the wild rose itself — B u t terc u ps 18649 Now we are going to sing about a flower that comes H in the spring . ave you ever been in the country and seen a field just full of little yellow flowers ? We call

e s them buttercups . L t us hear what the little song ays about them . P ( roceed in usual way . ) — Rh yth m M edl ey 18548

so We are going to do anything the music says to do , we must listen very carefully . Skip , or march , or hop , u j st as it says .

SUGGESTED LESSONS FOR THIRD GRADE

LESSON I TH E SW AN (Listening) 45096 WHIRLWIND (Descriptive) ADESTE FIDELES (Listening a nd Humming) 18664

Record in prepa ra tion .

«0 9 95 0 M U S I C A P P R E C I A T I O N

LESSON II

DAW N OF LOVE (Listen ing) 18296 LA CINQ UANTAINE (Ins trumenta l Re cognition a n d M eter Sensi ng) SONG OF IRON (Dra ma tiza tio n)

LESSON III

SW ANEE RI V ER (Listening) M INU—ET IN G (M eter Sensi ng) C C OO C escr t e R t m c CU K CLO K (D ip iv , hy h i )

LESSON I

Have y ou seen a whirlwind ? It scampers along and

whirls the dust , or the leaves , and then ﬂies away . You

never can tell just where it is going , but then it ﬂies away

so happily . ’ And I know you ve seen a lovely swan , on a lake in a D ? park , perhaps . oes the swan move like the whirlwind ’ I m going to tell you those two things with music , and see if you can tell which is the whirlwind that scampers

and plays along , and which is the swan that glides so

calmly where the water is smooth as glass .

Pla y Swa n Pla y Whirlwin d

(If there be time , or in another lesson , the details of the musical description of Th e Whirlwin d and The

S w n a might be suggested to or drawn from the children , something like the following) Did you ever hear of the ugly duckling ? He bec ame a ? beautiful swan . What word best tells us how he moves

(Glides . ) Let us make believe we are on the bank of a beautiful lake . The water is as smooth as glass ; there is

no breeze to disturb the calm water . What sounds like the

in ra t on Record prepa i . 0 96 «0 9

M U S I C A P P R E C I A T I O N

— S o n g Of Iro n 17937

- To day we are going to hear a song about iron . I wonder where we get iron ? What do we call the man who gets it for us ? (Secure all information possible concern ing miner from class . Then teach words and proceed with song , singing in usual manner . This song is very strong in both rhythmic and dramatic appeal . The following suggestion for its use may prove helpful

All the school may be miners , some with picks and li some with Shovels . Stand still while stening to the ﬁrst two lines . Then imitate the placing of lamp in cap , and

- x S pick a or hovel over shoulder , and to the rhythm of the music , pretend to go deep down into the mine to work . Insist that the exercise be rhythmic " Shoveling requires — two motions pushing shovel into ground with accent Of the music , and throwing ore with unaccented portion .

- a x The use of the pick also involves two motions , with the additional bending and straightening of the body .

h . Through the entire song , suit actions to t e words )

LESSON III

Sw a n ee R iv er 18127 (There are many melodies which we will wish the children to sing later , and which they may be hearing now

River f . Swa nee O for their sheer beauty is one these , and it is here presented simply because it is beautiful and because the child can enjoy the melody long before he can

- appreciate the words . ) TO day we are to listen with our l ears on y . Neither our hands nor our voices are to talk .

If we close our eyes perhaps we can hear better , for then our ears must do all the listening without any help from our eyes . S U G G E S T E D L E S S O N S

M in u et in G—74444

(This has been used in previous grades for listening . ) Let us listen ﬁrst for the strong pulse . Ca n you clap “ ” every time the music says strong ? Now let us clap

a nd be the strong the weak ones . (The clapping may

varied by long and short lines , or large and small circles on the board . ) Is it two or three ? (Ga votte on sa me record ma y be used for example of

fours . )

M —F S M TH E SC . INUET RANKLIN HOOL , CROOK TON , INN — C u c k - C OO C loc k 17513 l I know of the queerest kind of clock . A ittle bird ’ sings when the clock wishes to sa y the hour . Isn t that a queer way for a clock to strike ? I wonder if you know ? what kind of clock I mean Yes , it is a cuckoo clock

- and it was made in a far away country . I should like to tell

you the story of this clock . (Tell words and then proceed

in usual method . )

0 99 0 LESSON BUILDING

KI NDERGARTEN

HE kindergarten teacher is fortuna te in h a v

ing great freedom in her use Of materials , the opportunity to use her own personality “ n and i itiative , and the chance to ﬁnd

individual children . The course of study and the daily program are more flexible tha n in the grades . Since music is an integral part of kindergarten work indispensable in song , rhythmic development , and play and since it can be arranged without the limitation of a g iven music period , we have not attempted to plan definite f lessons . We have selected instead a choice group O material which the kindergarten teacher should use to supplement the music of the games and songs which often make up the entire pabulum presented . l Even the most musical teacher , who plays a piano we l , welcomes the Victrola as an ever- rea dy a nd efficient “ tea chin assistant , for in g, her own attention must needs be bestowed upon the children . Furthermore , the piano is helpless in providing cultural effects that come from a c

quaintance with the tone quality of orchestral instruments . The short list Of instrumental music which follows has

been culled from more lengthy lists elsewhere . The rhythmic numbers invite bodily expression ; the descrip tive are Obviously fa miliar to the child world ; and those l isted for aesthetic appreciation are either dearly loved

a a melodies a child should know , or re bright , h ppy , and “ ” c — rhythmi the type that deserves the name pretty .

Th e tiniest children should hea r th e music of the masters .

0 100 0

M U S I C A P P R E C I A T I O N

PRIM ARY GRADES

In addition to the foregoing suggested lessons , we here with submit material for twenty - nine more lessons for

la each grade . (For complete p n , see page I t is necessary that the sequence of lessons should ’ carry forward the child s development , and at the same t time use material over and over again , each ime from some new point of View . There are many records which may be used with proﬁt in every grade from kindergarten to high school . To be of further assistance to the teacher in getting the ” most out of a record , a few type records have been treated extensively under that heading in the next chapter .

Since so very much of the so - called regular music work of the school is the singing of songs it has been thought best to list the records of songs under that heading with sug

z . gestions for using , teaching , and dramati ing them Although much of the song work is real appreciation work , we have thought perhaps the teacher would prefer to incorporate the use Of song records into her regular song study and use the special appreciation day for those phases of music which might not otherwise be presented .

We have , therefore , omitted songs from these skeletonized lesson plans . Re alizing that the music period in the lower grades is but from twelve to ﬁfteen minutes long , we have suggested never more than two records in order that there may be m ti e to enjoy favorite records heard in previous lessons .

n It is not wise to use too ma y records in one lesson . If the picture of the instrument which plays the solo in the selections may be used (or of the several which

0 102 6“ L E S S O N B U I L D I N G

ll appear in simple combinations), the children wi absorb quite an acquaintance with instruments . L arge charts , each containing a natural color picture u of an instr ment of the orchestra , have been especially prepared by the Educational Department of the Victor

Company for this work in the schools . (See page Of In the primary grades , the chart the instrument about to be heard may be hung on the wall . Allow the children simply to ass ociate the sight and the sound of the instrument . The teacher need not supply any information beyond that which will be drawn out naturally ’ by the children s questions . Children should have acquired sufﬁcient familiarity with instruments that a re commonly used to be a ble to begin a conscious study of them in the fourth grade . Take time to make real friends with these mu sical gems FIRST GRADE (M a ny selections previously used in K inderga rten) LESSON I M a rch of th e Toys (Descriptive) Ga votte (Gretry) (Free Expression) LES S ON II I n a Clock S—tore (Descriptive) 35324 Sylvia Ba llet Pizzica to (Free Expression) LESSON III M omen t M usica l (Listen ing)

Rock- a - B e Ba b umm n y , y (H i g) LES S ON IV Da nce Cha ra cteristic (Listening) Little H un ters (Descriptive) LESSON V The Bee (Descriptive) Wild Horsema n (Free Expression) LESSON VI ’ Teddy B ea rs Picn ic (Free or Su ggested Expression) Hush M Ba be u , y (H mming)

o r in Rec d prepa ra tion .

cm' l OB w s M U S I C A P P R E C I A T I O N

LESSON VII Humore (Listening) 16974 M a rch ilita ire Follow th e Lea der (Suggested Expression ) 35493 LESS ON VIII Spin ning Song (Descri tive) High - Stepping Horses Suggested Expression) LESS ON IX — Come Thou Fount (Listen ing Humming) Wa ltzing Doll (Listening) LESS ON X La Cinqua nta ine (Listening) Ga voue (Suggested Expression) LESSON X1 Lulla by (Listen ing) M a rch M in ia ture (Free Express ion) LESSON XII ’ Cupid s Ga rden (Listening) Ha ppy La nd (Humming) LESSON XIII — S erena de (M oszkowski) (Listen ing Humming) Rhythm M edley LESSON XIV Souvenir (Drdla ) (Listening) On th e Wing (Rhythm) LESSON XV The M in ute Waltz (Descriptive) La Cinq ua nta ine (Suggested Expression) LESS ON XVI M inuet in G (Listening) Of a Ta ilo r a nd a Bea r (Descriptive) LESSON XVII I dyll (—Listen ing) Orpheus Da nce of Ha ppy Spirits (Rhythm) LESSON XVIII Reconcilia tion Polka (Listening)

Roek- a - b e Ba b umm n y , y (H i g) LESSON XI X To a Wi ld Rose (Listen in g) M inuet (Beethoven ) (Suggested Expression) LES SON XX M cla d in F (Listening) Little unters (Descriptive)

0 104 -0 0

M U S I C A P P R E C I A T I O N

LESS ON VI H nsh M Ba be sten n a nd umm n , y (Li i g H i g) A t th e Brook (Descriptive) LESS ON VII Tra umerei sten ng) 64197 —(Li i Ba ll et M usic Willia m Tell

LES S ON VIII The Bee (Descriptive) Dorothy (Suggested Expression) LESSON IX Da wn of Lo ve (Listen ing) Whirlwind (Desc riptive) LES S ON X V a lse Bluette (Listen ing) Spin ning Song (Descriptive Rhythm) LESSON XI I dyll (Listening) Adeste Fideles (Hu mmin g) LESS ON XII The Fou nta in (Descriptive) First N owell (Humming) LES SON XIII Da nse Chinoise (Descriptive) Da nse des M irlitons (Descriptive) LESSON XIV Whispering Flowers (Listening) Ga votte (M eter Sensing) 18216 LESS ON XV Lulla by (Listening) Eros Wa ltz (Free or Suggested Expressio n) LESS ON XVI Serena de (Pierné) (Listening) M a rch M inia turc (Sugges ted Expression) LESSON XVII N a rcissus (Listen ing) I See You (M eter Sensi ng) See- S a w (M eter Sensi ng) LES SON XVIII Pra elud iu m (Listen ing) M onu sti (Gluck - M oza r t) (Suggested Expression) LES S ON XIX M in ute Wa ltz (Descriptive) Ga votte (Gretry) (M eter Sensing)

Recor in re ra t d p pa io n .

0 106 00 9 L E S S O N B U I L D I N G

LESSON XX Of a Ta ilor a nd a Bea r (M ac Dow ell) (Descriptive) Ga votte (Popp er) (Listening a nd M eter Sens ing) LESSON XXI Spring Song (M endelssoh n) (Listen ing) Ama ryllis (M eter Sensing) LES SON XXII M a rch of th e Toys (Descriptive) “ ” Lulla by f rom Erminie (Humming) LESSON XXIII I n a Clock Store (Descriptive) —“ M inuet (Ha ydn M ilita ry Symphony (M eter Sensing) LESSON XXIV Th e Wren (Listening) M otive for Skipping (Suggested Expression) 18253 LESS ON XXV Wa ltzing Doll (Poldini) (Listening) Minuet (Beethoven) (M eter Sens ing) LESSON XXVI I dyll (Listening) La Cinqua nta ine (M eter Sensing) LES S ON XXVII Hu moresqu e (Listening) S weet a nd Lo w (Humming) LESS ON XXVIII Silent N ight (Listening) M a zurka (Chopin) (M eter Sensing) LES SON XXIX V a lse Bluette (Listening) Whirlwind (Descriptive)

THIRD GRADE LESSON I S erena de (Titl) (Lis tening) Ga votte (Popper) (M eter Sensing) LES SON II Wind Amongst the Trees (Desc riptive) La Cinqua nta ine (M eter Sensi ng) LESS ON III Lulla by (Bra hms) (Humming) ’ S c M hoema ker s Da n e ( eter Sens ing). Da n ce of Greeting (M eter Sensin g)

r i re a n Reco d n p p ra tio . M U S I C ' A P P R E C I A T I O N

LESS ON IV ’ Will- o - the Wisp (Descriptive) M ennett (M eter Sensing) LESSON V If With All Your Hea rts (Listen ing a nd Humming) M oment M usica l (Rhythm) LES S ON VI Th e Swa n (Sa int- Sa éns) (Listening) Ga votte f rom M ignon (Rhyth m) LESSON VII Ballet M usic f rom Rosa munde (Listening) Rhythm M edley (M eter Sensing) LES SON VIII Souvenir (Drdla ) (Listenin g) From a n I ndia n Lodge (M a cDowell) (Listen ing) LESSON IX To a Wild Rose (Listening) 17691 Whirlwind (Desc riptive) LESSON X N utc ra cker Suite (Descriptive) ’ S ee the Con u rin Hero Comes ummin , q g (H g) LESSON XI

N a rcissus esc r t e . See stor a e 153 (D ip iv y, p g ) Dorothy (Rhythm) LESSON XII M y Old K entucky Home (Listening) M usette (Rhythm) LESS ON XIII Waltz in C Sha rp M inor (Listening) Wild Horsema n (M eter Sensin g) LESS ON XIV Whispering Flowers (Listeni ng) M inuet (Boccherin i) (M eter Sensing) 18049 LESSON XV S erena de (Schubert) (Listening) I n Lila c Time (Rhythm a nd M eter Sensing) LESSON XVI ’ Sa lut d Amou r (Listen in g) Riga udon (Rhythm) LESSON XVII The Butterﬂy (Descriptive) Gowen Trumpet (Rhythm a nd M eter Sens ing)

in e a ra t n Record pr p io .

MAK ING THE MOST OF A RECORD

N making the special educational records , the utmost care has been taken to see that ea ch one is made to serve in a variety

of ways , and the most careful thought has been bestowed on the selection of the material to give value in as many points of contact a s possible . Teachers will realize on their investment through a study of the hidden riches of even a small library of

M ten records . any times , one record may serve ﬁve to

L o purposes . ook over your record collecti n , and you will ﬁnd many that can be used in as many different l ways as the fo lowing illustrations , which were picked at random . HOW TO USE 17719 This record contains eleven splendid songs for rote singing in the primary grades .

Use J a ck- in - the- Pulpit in the early spring when th e

- - - children bring to school the ﬁrst jack in the pulpits . Use Corn S oldiers when you wish to improve the stand ing position of the pupils . Have class stand while singing this song . Watch the standing positions improve . This f is only a suggestion , but how much more e fective than a P command . lay again and have these soldiers march

ac . forward four steps , b kward four steps , and repeat

Use N a ming the Trees in the Arbor Da y exercises . How many names do you know ? Write names on board and see how many the class can think of . A splendid song for October and November is The

rr Squi el . Use for nature study to illustrate the habits of ? the squirrel . What would you ﬁnd the squirrel doing

”9 1 10 00 " M A K I N G T H E M O S T O F A R E C O R D

f This o fers a splendid opportunity for oral English , which is rightly receiving so much attention in the schools to I L t . t nn e day may be used in co ection with the game , th uirr l 75 8 Us Cha se e Sq e , on Record 1 6 . The Windmill affords an opportunity to discuss with th e children the reason why we have no windmills now .

D M a w h a uring the month of y , t could be better than Da ncin g in M a y? It is necessary for the class to hear the song which they a re to learn several times , so that they can sing it cor rec tly . When it is possible to use rhythmic motions sug gested by the words , new interest is given in the many

r repetitions which are necessa y . In the drawing lesson ,

n t if We desire an exact reproduction , we do o hold the object before the children and then remove it quickly and expect the children to make an exact likeness . We should not expect the impossible in music . The children must hear a new song a sufﬁcient number of times to have an exact tone picture . Songs on th is record which may be used with motions — I n th e Belf ry Ha nds high a bove h ea d pulling th e bell ropes in time h mus c to t e i . — Corn Soldiers M a rch —like soldiers with h a nds on desk instea d of w h s c lef r t e feet r t t t e mu t tc . , igh i h — i , igh , — The Windmill Swing a rms c rossin g over hea d down a nd up s wing with th e music —like a win dmill . The Sin in S chool rms el s oul er mo e in time t th e g g A h d h d high , v wi h mus c l e h s i ik t e win gs of t—he wa llow . M other Goose Lulla by Fold a rms a nd swing ba ck a nd forth like a cra dle .

M otions for Riggety J ig . There have been many requests for singing games which do not require a circle formation . M any thoughtful teachers realize that the motion song after it is learned is

(0 9 1 1 1 0 M U S I C A P P R E C I A T I O N

very valuable when used between clas ses . This song may be used with the children standing in the aisles . The children enjoy playing to this song on a rainy day when they have umbrell as at school . Use umbrella for willow tree and ride upon it . Gallop forward eight counts ; on word “ ” ’ kn ow all stand still . On he s just the branch of a ” willow tree hold stick or umbrella up in right hand . “ ” “ ” ri see a ll On 0 ggety jig gallop two steps . On you bow . In kindergarten , wands make excellent stick horses .

e For rhythmic work , have childr n do these motions , l H e fo lowing the Victrola , but not singing . ave childr n sing when not doing motions so that attention may be paid to

a s the tone quality . Individuals may sing phr es , for

- o t . quick resp nse , sharp attention , self possession , and for est

Use the same motions for second verse .

M otions for Da ncing S ong .

I c rcle f r r n o ma t on ea c c l t a tner . i —i , h hi d wi h p l st l ne of son a ll a n s s o ul er turn t ce in la ce . i g h d h d high , wi p — ’ 2d line ta king pa rtner s ha n d skip twice towa rd center of circle a nd ce k t wi bac to pla c e . 3t l e —ll sl f r r d in —a j oin ha n ds a n d ide ou times to ight . h l s 4t ne a me sl n to left . i , idi g a me f r s r S motions o ec ond ve se . The teaching of the syllables of the scale as a scale in the ﬁrst grade has now been relegated to the pedagogical

- ash heap along with the presentation of the alphabet .

This necessitates a new method of presenting the syllables . The teaching of syllables as an additional stanza to the

rote song is found in ﬁve of the eleven songs on this record .

For correlation with drawing , a lesson may be given

—- - on J a ck in the Pulpit. Paper cutting or drawing of a

church correlates with I n the Belf ry . A lesson of silhouette drawing of tree s with distinctive

outline may be given with N a ming the Trees .

e“ I I Q W ’

M U S I C A P P R E C I A T I O N

— ’ Wild H orsem a n A good sel ec t ion f or Ha ll ow e en This selection may be used in connection with the L egen d of Sleepy Hollow in grammar grades . The ﬁrst theme is the Head less Horseman of Sleepy Hollow . This theme is repeated and then Ichabod Crane comes into H H the picture . The eadless orseman appears again , then we hear the last appearance of Ichabod . The Headless Horseman comes again on the scene and the story ends . This story may be adapted for use in the primary grades . The little children are interested in the man who dressed up to represent the Headless Horseman and chased Ichabod Crane as he was returning from a party . They may raise hands when Ichabod appears in the tone picture .

Of a Ta il or a n d a B ea r

After hearing the story , the children will be anxious to

z dramati e it . Allow them to select one of their number

“ for the ta ilor , another for the bear , a nd another for the keeper . R B elate the story of the Tailor and the ear, and then let the children listen to the music tell the same story .

93 . For a suggested story , see page This makes an excellent subject for a paper cut ting lesson . The children can make a bear , a cage , the tailor and the keeper .

S pin n in g S on g This is a very appropriate selection to play during a tableau for a spinning scene .

Use in connection with the work on the Colonial period . f Introduce pictures of di ferent kinds of spinning wheels . Why do we not use spinning wheels now?

0 1 14 -0 0 M A K I N G T H E M O S T O F A R E C O R D

For primary grades have the children listen for plac es where the ﬂax on the wheel breaks and the music stops

Ra r . suddenly . ise hands when ﬂax b eaks

Lit tl e H u n t ers In the primary grades where ph ysical response is de sired . tell a story of a party going hunting . Show a hunting H picture . ow many horses do you see ? Le t us listen and raise hands when we hea r the horses in the tone picture . One man has a horn . Hold hands to mouth a s if blowing a horn every time you hear the horn .

ma dra ma tize in This selection y be d grades one and two . C hildren in circle ; hold hands to month wh en horn is s l ounded and ga lop when horses are heard . Little H u n ters is an excellent selection for a tone picture for grammar grades , omitting the motions .

c0 0 115 60 " M U S I C A P P R E C I A T I O N

HOW TO USE 18296- B

The children enjoy taking two pencils and playing th e xylophone . This selection is especially well suited to third grade , because there are several places where the xylo l phone has a few measures of rest . The chi dren must listen carefully and not play when the xylophone h a s stopped . They wait also during the introduction and be gin exactly with the instrument which they are imitating . Tell the Chinese legend of the xy lophone from Pa n is P a nd H i es 19 . p , page Use same selection in giving the instruments of the S orchestra in the grammar and high school . how picture of xylophone in Orchestra Charts . Give description of

See instrument from booklet with Orchestra Charts . ( page

HOW TO USE 18296- A This selection may be used in the primary grades for cultural hearing . In the upper grades it may be used for recognition of violin , flute , harp , and celesta . This is especially suitable for such work , as the violin and celesta are heard first , then the flute and celesta . First have the children raise hands each time the violin is heard , then play selection fl again and notice the utc . Raise left hands when harp is heard . Use pictures of instruments from Orchestra Charts .

HOW TO USE 17735

Bird records may be used for innumerable occasions .

a M a Da . On Arbor D y , y y , etc , if two or three small machines can be borrowed , several of the real bird records may be played simultaneously . If the instruments may be concealed in the wings or behind screens or ﬂowers the “ See effect is beautiful . ( Nature

0 116 -0 0

M U S I C A P P R E C I A T I O N

from the black - and- white of the printed pa ge into the

realm of human interest . The following correlations are designed to give only a general idea of the very wide ﬁeld covered by Victor

records . Every teacher should adapt the abundant wealth of the m aterial to the conditions and needs that

exist in his or her own classroom .

SUGGESTED CORRELATIONS OF POETRY AN D M USIC

M usic of the same fanciful atmosphere or the same temperamental key as a bit of verse or prose reading ca n often enh ance the beauty and vivify the impression o f

such a reading . The following readings have been chosen from some of the more modern primary readers that have met with ma wide use in schools , and are listed with records that y

be used to advantage in this correlative way . — Th e A n c ien t M a rin er N oe l (Holy Night) 17842 He pra yeth best wh o lo veth best All things both grea t a nd sma ll For th e dea r God wh o lo et us v h ,

He ma de a nd loveth a ll . —SAMUEL TAYLOR COLERIDGE

F f ou h ton Mitﬂin Co . rom v ers de ea ders oo . sed erm ss on o H ( Ri i R , B k III U by p i i g ) — Appl e Bl osso m s S prin g S o n g ( M en del sso h n ) 18648 To Sprin g (G rieg) 64264 Ha ve you seen a n a pple orcha rd in th e spring? I n th e spring? An English a pple orc ha rd in th e spri ng ? When th e sprea ding trees a re hoa ry

W t t e r ea lt of rom se- lor i h h i w h p i g y , A nd th e ma vis pipes h is story I n th e spring "

Fro m od et ers oo I V erm ss on of G nn Co . ( Bl g t Rea d , B k . Used by p i i i )

0 118 0 P O E T R Y A N D M U S I C

’ — — Bird s Orc h es tra S o u n d s of th e F orest 55092 or 16835

Bo o nk s a l la th e ol n b li h l p y vi i , Grea t a ppla use to win ;

o nel s eet a nd sa d th e mea o - la rk L y, w , , d w rk Pla ys th e oboe . Ha "

el o - rd th e c a r onet s a ll la Y l w bi l i h p y , Bl t l r e c ea a nd a . i h , g y Purple- ﬁnch wha t ins trument will suit? e l H ca n p a y th e ﬂute .

F re- n e la ck ir s sound th e merr ﬁfe i wi g d b b d y , Soldiers without strife ; And th e robins wind th e mellow horn

ou l ev e a nd morn . L d y , Wh o s a ll cla s th e c m a ls ? Ja nd cro h h y b y a w , Tha t is a ll they know ; And to ro th e dee melo ous drum , ll p di ,

- Lo "th e bull frogs come . Then th e splendid c horus " Wh o sha ll sing Of so ﬁne a thing? Wh o th e na mes of th e perfor—mers ca ll rul one a nd a ll ? C X T y, ELIA THA TER - m n Fl or E so n Gra mma r Sch oo ers oo . sed rm ss on of Scott Fores a ( l Rea d , B k III U by pe i i ,

?30 . l — — B ob W h it e S prin g Voic es 16835

’ ere s a um l ttle c a in a s eckled coa t Th pl p i h p p , And h e s ts on th e z za ra ls remote i ig g i . W ere h e st es a t reez ra c n morn h whi l b y , b i g , W en th e uck ea t is r e a nd sta cked is th e corn h “ b wh ip , ” , Bob White " Bob White " Bob White " - GEORGE COOPER

Fro m v ers de ea ers o I V . Used erm ss on of Ho u hton M ma Co . ( Ri i R d , B ok by p i i g i i ) — — — Th e Brook A t th e Brook 64103 or Th e B rook 64324 .

come from a unts of coot a nd h em I h , ma ke a sudden sa ll I y , An s a rkle out a mon th e fern d p g , — S To bicker down a va lley . TENNY ON i v er e ea ers . erm ss on of Hou hton M iﬁ n Co. (From Ri sid R d , Book VI Used by p i i g ) — — Th e Brook l et By t h e Brook 17844 Th e Brook l et (Sc h u b ert) 17532

See th e rooklets o n Yet to el t e r n b ﬂ wi g, h p h i givi g, o n a rd to th e sea den s r n s a r se D w w , Hid p i g i ; our n a ll t eir trea sures Or if nee be s o ers P i g h , d , h w sk es Bountiful a nd free " Feed them from th e i . — C ADELAIDE A . PRO TOR

t Fo r n o (F rom E son r ma r Sc hoo ea der oo 111 . Used erm ss o n Scot , esma C . ) l P i y l R , B k by p i i

cﬁ l m s“ M U S I C A P P R E C I A T I O N — — Th e Brow n Th ru sh S ong of t h e Th ru sh 45057

’ Th ere s a merry brown thrush sittin g up in a tree ’ ’ He s singing to you "h e s singing to me " An t oes h e s l ttle rl l ttle bo ? d wha d a y , i gi , i y ’ Oh th e world s running o ver with joy " ’ ’ Don t you h ea r ? Don t you see ? us " o ok " I n m tree H h L y , ’ ” I m a s ha ppy a s ha ppy ca n be " — LUCY La s cou

From E son Gra mma r hoo e ers oo I . Used erm ss on of o F m ( l Sc lR a d , B k byp i i Sc tt, ores a n Co . )

Th e Bu m bl e Bee —Th e Bee—64076

M na me is M r. Bumble e y b e, I come with merry din ; For en th e ur le o ers I see wh p p ﬂ w , Oh t en I do e in , h b g To boom boom uzz uzz , , b , b , Boom buzz oom " , , b ’ I m a ro er in th e la n Oh , v d And a ll I—need is room " . ru M u r a A . L . LANE

From Jones ea ers oo I I . Use rm ssio G e n of nn . ( R d , B k d by p i i Co )

— “ — C ra dl e S o n g Lu ll a b y f rom Erm in ie 18622

Slee a b slee " p, b y, p Th e rea t sta rs a re th e s ee g h p, Th e l ttle sta rs a re th e la m s uess i b , I g ; Th e r t moon is th e s e r b igh h phe dess . Slee ba b slee " p , y, p

From Jones ea ers oo 11 . Use erm ssion of G nn ( R d , B k d by p i i I ; Co . ) — — A F a r ew ell F ou r Lea f Cl ov er 64139

Be ood s eet ma d a nd let wh o ill cl r g , w i , w be eve ; Do noble t n s not drea m t em a ll a l hi g , h , d y ong; And so ma ke l fe dea t n t i , h , a d ha t vas t forever O r ne a nd s eet son . g , w —g CHARLE8 KI N GBLEY From E r m r Sch e son a oo a er oo I V . r ( y d , Used e m ss on of Scott Foresma n Co . ) l P i l R B k byp i i ,

Th e F ou n ta in —Th e F o u n t a in —70031

nto th e suns ne Gl r I hi , o ious founta in " Full of th e l t igh , Let my hea rt be ea in a nd a sh n Fresh c a n ef L p g ﬂ i g , h g ul , consta nt, ' Ih om morn till n t " a r like th ee " igh — Upw d, JAMES RUSS ELL LOWELL From E son Gra mma r Schoo ea ers oo ( d , Used y perm ss on Scott Foresma n Co . ) l l R B k II b i i ,

M U S I C A P P R E C I A T I O N

Th e S ch ool h ou se a n d t h e —Fl a g S t a r - S pa n—gl e d Ba n n er 17581 or 18338 Ou r Fl a g 18649

Ye wh o lo e th e Re u l c remem er th e cla m v p b i , b i e e h er fortunes e w h er na me Y ow to , y o e to , To h er yea rs of prosperity pa st a nd in store A un red e nd ou a t ousa nd efore " h d b hi y , h b

’ Th e ue a rc a o e us is ert s dome bl h b v Lib y , ’ Th e green ﬁelds benea th us Eq ua lity s home ; ’ But th e schoolroom to - da y is Huma nity s friend Let th e eo le th e ﬂa a nd th e sc oolroom efend " p p , g h d

’ Tis th e sc hoolhouse tha t sta n ds by th e ﬂa g ; Let th e na tion sta nd by th e sc hool " ’ Tis th e sch oolbell t a t r n s for our ert old h i g Lib y , ’ s l se l s ll r Ti th e sc hoo boy who —ba lot ha ule . FRANK TREAT SOUTHWIC K

Stu e in ea d n Adv a n e ea der. Used erm ss on of Un v ers t Pub » ( From di s R i g , c d R by p i i i i y

lish ing Co . ) — — — S en sib il ity M el ody in F (Rubinstein) 45096

Th e soul of mus c slum ers in th e s ell i b h , ’ il k n k n th e m ter s s ell T l wa ed a d i —dled by as p — And feeling hea rts touch them but l—ightly pour A thousa nd melodies un hea rd before ROGERS

Fr m Ar M us c ea ders oo . Used erm ss on of At son Mentzer C o . ( o t i R , B k II by p i i kin , ) — — — S ign s of th e S ea so n S o n g of A u t u m n (Tsc ha ik o wsky) 64577 Wha t does it mea n when th e bluebird ﬂies ? O er th e lls s n n s eet a n d c ea r v hi , i gi g w l When violets peep through th e bla des of gras s ? s r h s s r s r The e a e t e ign tha t sp ing i he e .

Wha t does it mea n when crickets c hirp ? ? And a wa y to th e Southla nd th e wild geese steer ? When a pples a re fa lling a nd nuts a re brown

r s s mn is ere . These a e th e ign—tha t a utu h M . . E N . HATHAWAY ma n F ro r i E son r ma r Schoo ea der oo . Used erm ss o n of Scott Fores ( l P i y l R , B k III by p i i , éo ) — — Th e Sk yl a rk H a rk "Ha rk " th e La rk (S—c h u bert) 64218 Lo ere th e G en tl e a rk 88073 o r 74608 , H L

B r of th e l erness i d wi d , Bl t esome a nd cum erless i h b , ’ ee be th ma t n o er moorla n a nd lea " Sw t y i — d JAMES HOGG

Fro m od e t Rea ders oo V . Used erm ss o n of G nn ( Bl g t , B k by p i i i

m 121 a P O E T R Y A N D M U S I C — — — Th e Sl u m b erl a n d Boa t S l u m b er Boa t (Ga yn or) 18448

’ There s a boa t tha t lea ves a t h a lf- pa st six From th e bus to n of la y w P y, And it reac h es th e ha ven of Slumberla nd B r h f — Goo DRO w efo e t e clOse o da y . EMELINE

F m Els n r ma r Schoo er oo e erm ss o n of th e Author a n ( ro o P i y l Rea d , B k I . Us d by p i i d

Scott, Fores ma n Co . ) — — — — S on g Sylv ia Ba llet Pizzic a to (with bird voices) 45113

S n little b rd oh s n " i g, i , i g How sweet thy voice a nd clea r " How ﬁne th e ir mea sures r n a y i g, Th e sa d old world to cheer "

Bloom l ttle o er oh loom " , i ﬂ w , b Thou ma kest gla d th e da y ; scented t rc t ou ost llume A o h, h d i

Th e da rkness of th e wa y .

‘ a nce little child oh da nce " D , , hile s eet th e sma ll b rds sin W w i g, And o ers bloom fa r a nd e er la nce ﬂ w i , v y g r Of sunshine tells o f sp ing .

Oh " loom nd S n a nd smile b , a i g, , Flo er ird a nd c a nd ma ke w , b , hild, Th e sa d old world forget a w—hile I ts sorrow for your sa ke " CELIA THAX TER

Fro E son Gra mma r Sch ool ea er oo . Used erm ss on of S cott Fo resma n ( l R d , B k II by p i i ,

m:0 . ) — — — S on g of th e Bee Th e Bee (Sc hubert) 64076 ” Buzz "buzz "buzz "

This is th e song of th e bee . His legs a re of yellow ; oll ood fello A j y g w, r r r And yet a g ea t wo ke is h e.

r od e rs oo . Used rm ss on of G nn Co. (F om Bl gett R a de , B k I by pe i i i ) — — Th e S t orm y Petr el S on gs of Ou r N a tiv e Bird s N o . 1 55049

Up a nd down "up a nd down " ’ From th e ba se of th e wa ve to th e billow s crown ; And midst th e ﬂa shin g a nd fea thery foa m —B C Th e Stormy Petrel ﬁnds a h 0 me . ARRY ORNWALL

r VI Us r ss on of G nn Co . e s oo . e m (From Blodgett Rea d , B k d by pe i i i )

a 123 “0 ° M U S I C A P P R E C I A T I O N — — S tra d iv a riu s M in u et in G , N o . 2 64121

When a ny ma ster holds ’ t c n a nd a n a iol n of m ne Twix hi h d v i i , He ill be la t a t Stra a r l e w g d h div i iv d , M e ol ns n m e t em f t e es a a d a d o h t . d vi i , h b Th e ma sters only know whose work is good ; e ll c oose m ne a nd ile God es t em sk Th y wi h i , wh giv h ill e t em nstruments to la u on I giv h i p y p , c s n o el Hi God hoo i g me t h p m . —GEORGE ELIOT

From Art Mus c Read ers oo . Used erm ss on of At nson Mentzer Co ( , , . “ i B k II by p i i ki ) See a so Th e V o i Ma ers of C remona Pa n a nd His Pi es . 49 . l i l n k , p , p

— — oi e f rin Th e r d M oszk sk r V c o Sp g , S e en a e ( ow i) (with bi d voices) - 45085

Turn thy eyes to ea rth a nd hea ven God for t ee th e s r n ha s en h p i g giv , a u t th e r s t e r melo es T gh bi d h i di , Clothed th e ea rth a nd clea red th e skies For th y plea sure or thy foo d h i r Pour t y soul n g a titu de . —M ARY HOWITT

Frori E son Gra mma r Sc h oo ea ders oo . Used erm ss on of Scott Foresma n ( l l R , B k II by p i i ,

é0 . ) — — W h ich W in d is B es t W in d Am o n gst th e T rees 70026

Wh c e er w a th e n dot lo i h v y wi d h b w , Some hea rt is gla d to ha ve it so ; An d lo it ea st or lo it est b w b w w , h e is es T n t a t lo s t a t n t . wi d h b w , h wi d b — M S N CAROLINE A . A O m r ma r Sch oo ea der oo . Us erm ss on of Scott Fores a n P i y l R , B k III ed by p i i ,

’ — — Th e Worl d s M u sic M om en t M u sic a l 18216 or 74202

’ Th e orld s a er a la ce w v y h ppy p , er r c s e s n Wh e eve y hil—d hould da nc a nd i g . GABRIEL SETOUN

F rom A d ne ead ers oo Used erm ss on of N ewson Co . ( l i R , B k III . by p i i )

M U S I C A P P R E C I A T I O N

Irel a n d A very delightful way to introduce the music of Ireland ’ M c r a ck s A Little Bit o Hea ven is by use of C o m f , Rec ord 43 645 . d No . This makes a splendid story for the chil ren to reproduce in the language class .

i (Show the pic true of the Irish Jig . ) The j g is a favorite

o s dance in Ireland . H w much these people eem to be " ? enjoying it What has the man in his hand Yes , a

Let cane . us use pencils for canes and tap the desk four times then wave in the air four times . (Continue this for ﬁrst theme . ) ? What is the man in the corner doing Yes , he is play — ing a ﬁddle as the Irish call the violin . Let us play the

— ’ IRISH JI G N Ew YEAR S EV E IN IRELAND

126 00 ° C H I L D R E N O F O T H E R L A N D S

ﬁddle and rest a while from dancing, then the next time 002 l . . 17 we shal take our cane again (Use Re cord No , or

rish Lilt . I , on Re cord No

The Irish as well as the Scotch use the bagpipes . Show 9 Rec . 1863 . a picture of a bagpipe player , and use ord No

The harp is the national instrument in Ireland . (See foregoing suggestions for handwork . )

For children to learn the tone quality of the harp ,

The F oun ta in . 00 1 . play , Re cord No 7 3

840 . in n c a da . 17 For folk dance , use R e F , Re cord No

I ta ly

- To day we are in Italy . When the Italian boys and ? girls hear this selection they all stand up . Why It is

Sta r- a n Ba S l d n n r . their p g e e Yes , it is their national

P l a r h . . 6 6 a c . M anthem ( lay Rec ord No 1 13 , Roy ) What ? M does it make you feel like doing ( arch) Yes , we want M w to march just like the Italian soldiers . ( arch ith hands if time and space are limited . ) I want you to listen very carefully and then tell me where the Italian boys and girls would hear this kind of

- i . . P 17548 A Gloria Pa tr music ( lay Re cord No . , ) (In church . ) Yes , there is something interesting about the ’ Italian children s church . In some of their churches they have two choirs , one at the front of the church and one way , way at the other end . We shall sit in the front part of the church . Which choir will sound louder ? (The one at the front . ) Yes , now when you hear the choir at the back of the church begin to sing , you may raise your hand .

P 5 8 - ( lay 17 4 B . ) I shall know then that you hear the softer singing which sounds softer because it is farther away from ’ us . Isn t this beautiful music ? How much the Italian children must enjoy hearing music like th is every Sunday "

“ 127 0 M U S I C A P P R E C I A T I O N

i - l 4 un i F n a . P . 64 37 F cul u icu ( lay Rec ord No , ) Where would the Italian boys and girls hear this kind of music ?

? . n In church (No , when they are playing ) Yes , this sou ds i happy . There is something which I know you would l ke

to hear about this selection . There is a mountain in Italy f which is di ferent from the mountains in this country , for

there is ﬁre inside of it . This burns all the time , and

smoke comes out just as from a chimney . (Show a

picture of M t . Vesuvius . ) Later we shall learn about

this in our geography . M any people like to climb up and look in the big hole l at the top of this mountain . A very strange rai road has “ ” been built . It is called a funicular railroad , because there are no engines or electric cars such as we ride in . When ’ one car is coming down , it pulls another up . Isn t that a

? nis e queer sort of railroad When this railroad was ﬁ h d , there was a great celebration , and this song was written to be sung at that time . The Italian people liked the song

so much that they have sung it a great deal ever since . L t e us make believe that we are Italian boys , and that

ac . S e h one of us has two cymbals ( lide hands , touching

. Do nl . a i palms this on chorus o y After a second he r ng , children will know where to begin . When this is well done ,

try four of the cymbal motions and clap three times . ) I wonder how many have seen a n instrument called ” an accordion . The Italian boys and girls will sit by

the hour and listen to their fathers play upon the accordion .

(Show a picture . ) We are going to have an Italian man

play the accordion for us . What do you think he will

? r - led Ba n ner i Sta S a n . choose (H s p g ) Yes , for he loves

P . e that song . ( lay Record No H plays another

Italian national song , then the English national hymn ,

and then the French .

m" 1 28 ‘ﬂ '

M U S I C A P P R E C I A T I O N

Ta ta l 1 9 n i . 7 5 Teac h Italian folk dance , Record No 1

o Da n c usi - directions in F lk e M c by B urch en a l C rampto n .

F ra n c e

I am sure we should all enjoy hearing the national

anthem of the little French children . It is a very wonder

ful song . It makes one want to march . (Re cord No . 1 668 d A i 7 M e le o N a tion a l rs . , or use selection from a y f ) L t e us march with our hands , keeping time like soldiers

left , right , left , right .

Now , we are going to have a song which the French children love very much . It is about a bridge where they

go to dance . We are going to hear the song in French .

’ Le Pon t D Av ign on (Th e B rid ge of Av ign o n )

TH E G ENTLEM EN A LL DO TH I S WA Y

TH E LADIES A LL DO THIS WA Y

cos 130 w e C H I L D R E N O F O T H E R L A N D S

l The little French children cou d understand this song ,

a ll but we cannot , so I shall tell you about the game before the lady sings the song . (Re cord No . (See other French songs for children on pages 55

F a ra ndole A beautiful French folk dance is this , Record

8368 . No . 1

l r a l In France long , long ago , the chi d en dressed ex c t y l ike their fathers and mothers , and used to wear very fancy clothes . Would you think the music for their ? dances would be fa st or slow Yes , slow , because with all t heir ﬁne clothes they could not move abo ut quickly .

t c m We a re going to hear a French dance . Le us have y bals for four counts and clap four counts . When the music changes , we shall sit quietly , waiting to hear the ﬁrst

m . theme again , and then we shall use cy bals and clapping

A ma r llis ( y , Record No .

OLD FR ENC H DAN C E

ca 1 31 a BY WI LLI A M J EAER F rom a C opley print used i n of C urt is b y permiss o ’ TR E B R S ES meron I nc . «in C a . I D N T

M U S I C A P P R E C I A T I O N

z such sounds within the scope of their limited hori ons , to interrelate and identify them with the experiences

of their own little lives .

r In small towns and country districts , natu e is bountiful

s ma see e in her gift , but even there we y the ne d for

acquainta nce with and information about nature . The logical place to gain this ac quaintance is in the woods and

ﬁelds ; but in the schoolroom , with the Victrola and Victor rec ords at hand the teacher h a s an ally of incalculable

value in promoting nature study . One of the most wholesome phases of this movement is the attention being given to the matter of the preservation i o of our native b rds . Numerous bird clubs , Audub n

B etc . societies , oy Scouts , Camp Fire Girls , , have done much to interest the younger generation in the study s and protection of our bird friends . Congress has pa sed a

Federal act to insure a nation - wide safety for the valuable

r - s feathe ed songsters . The camera and bird house are fa t

- taking the place ofthe murderous sling shotand riﬂe . Nearly every classroom is adorned with colored pictures of birds .

ff r Among the excellent rec ords of bird songs o e ed , M r . C harles Kellogg , the gifted naturalist , reproduces the

re calls of the catbird , stormy petrel , cardinal d bird ,

- C house wren , loon , red winged blackbird , bobolink , ali

f - orn ia Rec 55049 A . mountain quail , and marsh birds ( ord )

In another one (Re cord 55049 - B) he presents the calls

l ﬁnc o e of the ring dove , go d h , wo d pewe , bluejay , whip

- - t poor will , mourning dove , meadow lark , white throa ed

- sparrow , mother call of catbird , barn owl , and hoot owl .

- A few well chosen words of explanation precede each call .

In H ow Birds Sing and The Bird Chorus (Record 45 163 - A t m and B)M r . Kellogg presents further bird calls hat char

the ears of little listeners . N A T U R E S T U D Y

B ut in his imitative power M r . Kellogg is highly versa

S oun ds o the F orest P R tile , and in f , arts I and II ( ecord

5092- B 5 A and ), he gives the calls and cries of both the furred and feathered creatures of nature ; the widely

r varied songs of the mocking bird , the contented chi p of

- the cricket , the bulbous throated call of the frog , the shy

etc . note of the wild turkey , the love song of the moose , This record likewise possesses illuminating explanations of each call .

- M r . Charles Gorst , another naturalist and bird lover , has given the songs and calls of the American robin ,

l - killdeer , bluejay , bluebird , wood thrush , yel ow billed cuckoo , mocking bird , Kentucky cardinal or red bird ,

- r B u oven bird , red eyed vi eo , altimore oriole , mo rning

- R 17735 A B . dove , and Western meadow lark ( ecord and ) The name of each bird is announced before the song is rendered .

- The above named records , together with the actual voices of the real nightingale and thrush (Rec ord and sprosser (Re cord are an invaluable aid to nature study in our schools . Closely allied with the foregoing records are the nature ff songs and stories o ered for use in the lower grades , which may be presented supplementary to nature study . An instant appeal is to be found in records that celebrate in song and story such important personages of the child

M r . M M r . R world as r . Duck and Turkey , Squirrel , obin

Re Br u d east , the bl e bird , the bobolink , the bunny , the

u s n d little red hen , the p s y cat , a many others ; or when the Children recognize in terms of music suc h familiar

n objects a d phenomena as the brook , wind amongst the

r n a t ees , the whirlwind , the fou t in , the bee , the rain , a

- ff . dewdrop , poppies , violets , da odils , tulips , cat tails , etc

0 135 0“ M U S I C A P P R E C I A T I O N

The following is a list of records , in addition to those already named , suita ble for presentation in conjunction with nature study in the kindergarten and primary grades

All: th e Brook 64103 M a rguerites 17686 M oc k n B r Th e W st i g i d , ( hi Bee Th e 64076 , ling) 18083 B r s of th e Forest Ga otte 16835 i d v M oc k n B r Th e lo i g i d , (Xy Bl ue B r 17776 i d phone) 16969 Bo o nk Th e 17686 , M r k M r r b li . c D u a nd . Tu key 17776 Bun n Th e 17776 y , M r u rre . Sq i l 17776 Buttercups 18649 Butterﬂy 35448 Na mi ng th e Trees 1771 9 By th e Brook 17844 Na rc iss us 1831 1 t n a le Th e 18330 Nigh i g , Ca na ry a nd Thrush Duet 45058

Ca t- ta ls 18015 Owl Th e 18062 i , Cha nticleer 17513 o es 17625 C cken Th e 17776 P ppi hi , O a 17686 C orn Soldiers 177 19 P PPY L dy rett u 18649 C uckoo M usic 175 13 P y T lip uss Ca t 18076 ne Le Th e S a n 45096 P y Cyg , ( w )

Ra n Son 17004 Da ff odils 18015 i g Ro n Red Brea st 16094 Da nce of th e So ng Birds 17521 bi ’ Ro n s Return 1 686 Dew ro 17004 bi 7 D p , A

’ Six ttle u es 17776 Froggies Swimming Sc hool 17596 Li P ppi S u rre Th e 17 1 Founta n Th e 70031 q i l , 7 9 i , Sweet Pea La dies 17625 Gol nc Th e dﬁ h, To a Wild Rose 18144 ra cks in th e Sno 18074 Humoresq ue (Bird Voices) 45061 T w ul s 17686 Hunt in th e Bla c k Forest 35324 T ip

o et Th e 18649 Vi l , I Love Little Pussy 18076 Violets 17625 Voic es of th e Woods 17121 Ja ck - in- th e- Pulpit 17719 — Wa h w a h - ta ysee (Little Fire K a tydid 17625 ﬂy) 35617 Wha t Does Little Birdie ’ ea es a rt Th e Sa ? L v P y, y t tt e B r e W r n Th e Li l i di hi lwi d , tt e Bu a f Th e W n mon st th e rees 70026 Li l ll C l , i d A g T Little Fireﬂy Wind a nd th e Su n 17198 tt e a cka a nd th e W se B r Th e 18649 Li l J l i i d, a tor Th e Woo ecker Th e 17686 g , dp , tt e Red Hen Wren Th e Li l , l“Reco r in re r n d p pa a tio .

PRIMARY STORIES AND POEMS

ROF I C I EN CY in story telling is a vita l part of the professional equipment of every

successful primary teacher. The records of

universally - used stories by noted authorities in story telling are designed to furnish a model for the teacher and at the same time to stimulate in the pupils new interest in familiar stories through the hearing of voices to whose tone and inﬂections they are unaccustomed . The hearing of stories and poems is a valuable aid to music appreciation in that it cultivates good habits of listening and attention . ’ As an aid to the teacher in securing pupils reproduc

- tion or re telling of the stories , it is suggested that after i the children are fam liar with a story , only a portion of the record be played , the pupils being required to complete the story in part or as a whole . Dramatization plays an important part in developing

a re language power in children , and suggestions given for the dramatization of some of the stories by the class as a whole or by individuals . These stories may be readily

n adapted to conform to local needs a d classes of children . It is recommended that care be exercised that pupils do not confuse narration or oral re - telling of the stories with

c n t dramatization . Such haracters o ly should be ac ed as are clearly personiﬁed in the story . In cases where the story text is quoted in the following suggestions , the pupils may dramatize as the record plays .

0 1 39 0 M U S I C A P P R E C I A T I O N

’ By th e S h ores of th e G itc h ie G u m ee Hia wa tha s Childhood ’ ” Th en th e Littl e Hia w a th a Hi a wa th a s Childhoo d ) “ Pa n a nd His Pi es S See H . ( p , The ongs of iawatha Let us hear the story of the home of Hiawatha told in

a song . C n you tell how many singers there a re ? (Play

B the Shores o Gitchie Gu mee y f at end of ﬁrst paragraph ,

Page B th e s ores of Gitchie Gumee y h ,

B th e s n n Bi - Sea - Wa ter y hi i g g , Stood th e W a m of okom s igw N i , h M a u ter of t e o . D gh o n Nokomis . a rk e n it rose th e forest D b hi d ,

Rose th e la ck a nd loo m ne- trees b g y pi , Rose th e ﬁrs W ith c on es upon them; Br t before it bea t th e a ter igh w , Bea t th e clea r a nd sun n a ter y w ,

Bea t th e s inin Bi - - r h g g Sea Wa te .

Did you ever see an Indian cradle ? Why did the grand mother call Hiawatha Little Owlet ? P This is the song Grandma Nokomis sang to him . lay , — Ewa Vea l 35617 What were Hiawatha ’s little candles ? What did the ? — P Wa h - wa h - ta see 35617 Indian call them lay , y Our next song will tell us how Hiawatha learned many

- things that boys of to day would like to know about , too .

a ha (Play Then the Little Hia w t . )

Then th e little Hia wa tha ea rne of e er rd its la n ua e L d v y bi g g , ea rne t e r na mes a nd a ll t e r sec rets L d h i h i , HOW t e u lt t e r nests in summer h y b i h i , W ere t e t emsel es in W nter h h y hid h v i , ’ a lke W t t em W ene er h e met t em T d i h h h h , “ ’ k s Ca lled them Hia wa tha s chic en . Of a ll bea sts h e ea rne th e la n ua e l d g g , ea rne t e r na mes a nd a ll t e r sec rets L d h i h i , How th e bea ers u lt t e r lod es v b i h i g , ere th e s u rre s hi t e r a corns Wh q i l d h i , How th e re n eer ra n so s ftl i d wi y , Wh th e ra b t w a s so t m d y bi i i , ’ a lk t t em w h en er h e met t em T ed wi h h h , “ ’ ” r Ca lled them Hia wa tha s b others .

M U S I C A P P R E C I A T I O N

L (sway bodies from side to side). Turkey urky swelled ” ll himself up (pupils sit very erect , shoulders we ” “H back , faces frowning). e smiled with pleasure “ ? (children rub hands). Why are you so frightened l (Chi dren look frightened . ) Then Foxy Loxy led Turkey ” L urky , etc . (Count on ﬁngers of left hand with right

B t L x foreﬁnger . ) u Foxy o y was the only one ever to ” P come out again . ( upils shake right foreﬁnger in time with the spoken words . )

C in d erell a 35664 J a ck a n d t h e Bea n st a lk }

We pity the boy or girl who has not rejoiced with Cin derella in her victory over the cruel stepmother and proud sisters , or who has not shuddered with Jack during his visits to the home of the Giant who lived at the top of the beanstalk . These two tales have long stood the test of time , quickening the imagination and broadening the sym

c pathi s of many generations of children . It is a pleasure to hear them told naturally and with proper expression by H ’ this young reader . Sally amlin s stories shoul d be heard often by the children , not only for the sake of the story , but to improve expression by letting the pupils hear part of a story , and then ﬁnish it in their own words . These stories also lend themselves readily to dramatization . — Th e Dog a n d t h e Kitty C a ts 35643

This tells how th e Big Black Dog tried to frighten the

M C a t other and the Kitty , and how like the big coward that he was he ran away when the brave M other Ca t showed him that she was not afraid . Did you ever know a big boy like the Big Black Dog ? This is a very simple

z . little story , obviously easy to dramati e

cm 142 am S T O R I E S

Th e Du el This is chosen from Eugene Field ’ s delightful little

i dho i Love S on s o Ch l od . collection of lyrics for ch ldren , g f The story tells how the gingham dog and the ca lico cat “ h a d r i a ter ible ﬁght , wh ch ended only when they ate ” each other up " ? Now , what do you really think of that

The l utc clock it told me so o d D h ,

An d th a t is h ow I ca me to know . — Epa m in on d a s a n d His Au n tie 35636

How many boys and girls have mad e mista kes because you didn ’t know how things ought to be done ? I am sure none of you ever made such very foolish mista kes a s the little colored boy did whose story we are going to

h ear . This Southern nonsense tale appeals very strongly ’ “ to Children s love of anticipating what comes next . They will listen with keenest appreciation for the old ’ “ ’ ’ M m wiv am y s You ain t got de sense you was bo hn ,

a inevit bly recurring after each ludicrous mistake . — Th e F ox a s Herd sm a n 35293 This is the story of the little old woman who sought a

herdsman for her ﬂocks of sheep - and goats and herds of ’ cows . And why the bear and the wolf wouldn t do , and R how clever eynard secured the position , and then ate up a ll H w the animals . o did the fox acquire the white tip to his tail which he has worn ever since ? — Th e G in gerb rea d Boy 35418

“ ’ r Bo With its refrain of I m a Gingerb ead y , I am , ”

a m . " I I can run from you , I can , I can and with the

Reco rd in prepa ra tion

M ’ l 43 w ° M U S I C A P P R E C I A T I O N thrilling ﬁnish of the Gingerbrea d Boy when he at last meets the fox , this is one of the most popular stories for little people . The speaker furnishes an exceptionally good model ’ for the pupils imitation . — G old il oc k s a n d t h e Th ree Bea rs 35262 Little Goldilocks has bee n an ideal heroine of the child world for many generations . With her long golden curls

e . and dainty beauty , she has be n the idol of boyish hearts And with that sweet feminine curiosity that seems to have

c P bee n typical of the ra e since the days of Eve and andora , her adventures have been very real happenin gs in the ’ mind s eye of many little girls . The story is here charmingly retold from an old tale of Robert Southey . — Th e Littl e Bu ll C a lf 35643 This story teaches the little ones the importa nt lesson

of being careful to look where they are going . It will add to their interest if indi v iduals are assigned to play the B l l C w parts of the Little u l C a f, the o That Jumped Over

M B S . the oon , the ull in the China hop , and the Farmer Dramatiz ation : he liked to jump very high and run very fast Once he ran and jumped

t o into the lettuce pa ch . Once he ran int the fence and tore his little coat (M otion of hold “ ing up torn coat . ) it gave way and let him

through into the wide ﬁeld of the big world . he ” went plump , splash , into the quaky bog . he began to struggle to get out she ran out

and began looking all around . they got him

on the plank , they tied him with the rope , and they pulled him out he went on his little tottering

e0 9 144 00 "

M U S I C A P P R E C I A T I O N — M oth er G oose Jin gl es 17332

M ost children know M other Goose before they enter school . They will be eagerly interested in hearing the

- stories and in re telling and in playing them . I wonder how many boys and girls know the stories H a certain dear, old lady tells . ere is how one of them ‘ ’ ” begins : Little M iss M uffet S Sin a A pupil completes the story . imilarly g k be S on o Six en ce Hickor Dickor Doc . g f p , y y , etc , may presented . M ’ “ Stop the record after other Goose s Good morning , ” Do children , for their delighted reply to the greeting . the

H um t Dum t same before the answers to the riddles , p y p y ,

t c a t l and Little N a n cy E ti o . The pupi s will be eager to hear M other Goose conﬁrm the correctness of their answers . Little M iss M a f et eating curds and whey “ (pupils make motions of eating). Along came a spider

(left hands extended at side , ﬁngers outspread in ’ imitation of spider s legs ; arms a re withdrawn to sides “ ” when story teller says) sat down beside her “ ” ff and frightened M iss M u et away . (Shuddering mo

ac tion to right with frightened f es . ) Sin g a S ong of Sixpen ce: a pocket full of rye “ (hands make motion to pocket) four and twenty ” blackbirds baked in a pie . (Arms outstretched with ic hands clasped to form outline of pie . ) When the p was ” s opened (unclasp hands with ﬁngers out pread , “ palms up) to set before a king (motion of right hand setting down dish) counting out his ” “ money (count money on desks) eating ” “ bread and honey (motion of eating) hang up the Clothes (extend arms above heads)

w 0 146 00 9 S T O R I E S

snipped off her nose (with quick motion take nose betwee n first and second fingers of right hand). Hickory Dickory Dock mouse ran upthe clock (both hands raised with fingers in motion to imitate climbn of mouse ; or left hand imitates a running mouse while right arm at side imitates swinging pendulum).

Ba a Ba a Bla ck Shee : Le t s , , p half of the class repre ent “

t h M o . Ye the sheep , and h e ot ers other Go se s , ” l ir e a ﬂirma tiv e etc . sir , yes , s (she p nod heads y) — Th e Nigh t Bef ore Ch ristm a s 35418

’ "v a s th e n t efore Ch r stma s en a ll th rou h th e h ouse I igh b i , wh ” g N ot a crea ture was st rr n not e en a mouse i i g, v . The children of three generations have loved this wonderfully vivid poetic account of the coming of St . W Nicholas , and istfully wondered whether it might not be their good fortune some Christma s Ev e similarly to

catch a glimpse of the good old Saint . ’ Have the pupils listen for the sound of the reindeers

S . . hoofs , and the cheery whistle of t Nick — Pa n ca k e S tory 35293

This is a version of the story of the Gingerbread Boy . The children will welcome their familiar friends Henny

D . P ca Penny , Cocky Locky , and ucky Lucky an ke sets out from the home of the Good M a n and the Good Woman and the Seven Hungry Children upon a journey of hair P breadth escapes , until he meets iggy Wiggy , who , clever P P . for once , gobbles up poor ancake Now , that ancake

can go no further ; so this tale can go no further either .

Th e Ra ed M a n gg y 18276 Ou r Hired G irl Every American child should know these complemen ’ tary poems of Riley s about two very charac teristic

w " 147 -0 " M U S I C A P P R E C I A T I O N

: - of - - national types the kindly , honest , jack all trades handy man about the place ; and the institutional hired girl

- of the old days , autocratic yet big hearted monarch of the kitchen . Dear to any boy or girl would be such a Ra ggedy M a n

z . and Eli abeth Ann What thrilling stories one can tell , and what custard pie the other can make " Simple , whole souled Americans they are , whom every boy and girl will be the better for meeting .

— S u ga r Pl u m Tree 18599

This poem , closing to the ac companiment of dreamy R strains on the harp , is especially suitable for the est ? Period . What lullaby is heard

— Th ree Billy G oa t s G ru ﬂ l 7l 98

This story proves a great favorite with all children .

It is from popular Norse tales , which , like the old fables E ll of sop and M other Goose , never grow old , and sti

serve to point effectively many a moral in story form . What is a Troll? H ow different from a Brownie ? Ask the pupils if they can account for the difference in ’ “ ” " e the bridge s trip , trap , trip , trap as the thr e goats pass over it .

Th e Th ree Lit tl e Pigs

This classic will ever be a prime favorite with the little

e i people . What child do s not wriggle n delighted sym ’ pathy when the Little Pigs reply to th e Wolf s demands “ for admittance to their little houses , No , no , by the hair ” " his of my chinny , chin , chin And how one holds breath

Record in prepa ra tion

148 0 0 °

M U S I C A P P R E C I A T I O N

Soon after the beginning of the story the M aster of the Hounds sounds his horn (hands raised to mouth to repre

i l - sent holding o the hunting horn), th e Be l Ringer rings

s matin in the nearby village church , and the Huntsmen assemble .

M eanwhile the Fox , hearing the horn , ﬂees wildly up i and down the aisles and hides n his den .

l a The Huntsmen gal op , the Hounds t ke up the trail

o M th e and run around the ro m , until the aster of Hounds ’ sounds the signal for the stop at the Bla cksmith s . There the Blacksmith works at his anvil , humming a song during the latter part of this work . The Huntsmen are strolling around outside the shop (except one , whose horse is being shod)until the M aster of the Hounds sounds the signal for the continuation of the hunt . The Huntsmen and Hounds ﬁnally pursue the Fox to his den , where he is captured and brought out amid the cheers of the Huntsmen . — Littl e H u n t ers 18598

L tt u t rs z The i le H n e invites a similar dramati ation , but

F or t is more simple than Hu nt in Bla ck es .

’ — M id su mm er - Nigh t s Drea m (Overture) 35625 CHARACTE RS ; Du ke of A thens : A very digniﬁed little boy who can

march in a stately manner .

i l ta : B D H ppo y etrothed to the uke , and for whose

- t wedding the trades people are preparing a play . A lit le girl must be chosen who can be a real queen and march

with the Duke . A ttenda nts on Duke: Any number of children who

follow the Duke .

w " 150 -0 " D R A M A T I Z A T I O N

Lovers: Two couples walking hand in hand .

DES - EO E n ce r TRA P PL : Qui , a ca penter

n S ug, a joiner

te - Flu , a bellows mender

nout S , a tinker

Sta rvelin a g, a t ilor

Bottom , a weaver

Tita n ia Queen of the Fairies .

F a iries: An . y number of girls , attendants of Titania

Obero : n King of the Fairies .

Puck: n . Attendant of Oberon , and always doi g his bidding .

E SC N E : A forest near Athens . The music should be carefully presented before attempting to dramatize . The story should not be told P in deta il ; that will come later in English work . resent only what is necessary for an intelligent working out of

Overt r a s l e the u e, and such episodes wi l especially app al to children . Added interest may be secured by a few prop erti s e and costumes . A crown of gold paper for the Duke and the various tools suggested by occupation of

the trades - people will work wonders in stimulating the

imagination .

Before the music begins , all characters must be in

ac ff o - pl e in di erent parts of the ro m , cloak room , and hall ,

read y to listen for their particular theme . The children soon learn the different themes and ta ke their cue for

entrance from the music . The fairies are in a group in the

a nd center, kneeling a s if as leep , at the fourth magic

chord they slowly rise to toes and are no longer little girls , las but fairies . They dance about until the t note of the M U S I C A P P R E C I A T I O N

‘ ’ A M IDS UMMER- NIGHT S DREAM WITH THE M ENDELS SOHN M US IC ON THE VICTROLA

fairy music ends , when they go bac k to the side or rear in a group , awaiting the next strain of the fairy music .

As the fairy music ends , the procession , made up of the

D H ac uke , ippolyta , and their attendants , advances to a pl e where two chairs have been placed for the Duke and

H a ippo lyt , who seat themselves while the attendants form a group about them . The lovers are waiting to enter as “ s D . oon as the uke theme is ﬁnished They stroll about , two by two , then go to rear and lie down to sleep . As soon as they are asleep , Oberon sends Puck in to drop some magic into the eyes of the lovers .

- The trades people now enter and rehearse their play . (Eight notes on one tone played by bassoon is entrance

- cue for trades people . ) For suggestions for action see ’ L s a es ea e Act III of the play in amb s Ta le of Sh k p r .

The light quick fairy music is again heard , the trades people leave , as the fairies enter . A place is made for their queen to lie upon . The fairies dance about until the q uee n is asleep , then one by one they , too , fall asleep .

0 152 00

M U S I C A P P R E C I A T I O N

badly . He thinks the little boy does not want to play with him and has gone away .

He waits a minute and then returns to the pool . ? n And what does he see Yes , the little boy is there agai H a n d Narcissus is so happy . e tries once more to get the

little boy out , for he thinks this little boy is so beautiful . Not being able to get him out Narcissus feels so badly that M he lies down by the side of the pool and dies . ( usic

changes to a repetition of the ﬁrst theme . ) He is at once

turned into a beautiful flower , which we now call the ? narcissus . How many know the narcissus flower It would be very nice to have a narcissus flower growing in ’ ? L t our school room , wouldn t it e us listen to the third

part of the music . It is like the ﬁrst . i We shall now be narcissus ﬂowers , and our arms w ll

s be long leaves which sway in the breeze . What happen when a ﬂower with a very slender stem sways back and ? forth It breaks . If we listen very carefully we shall

hear when the stem breaks , and our stems must break at

the same time . What happens to a ﬂower when the stem

breaks ? We must pretend to die as the ﬂower does . — Of a Ta il or a n d a Bea r 18598

C S T : B A The Tailor , The ear, The Keeper , Group of P ’ eople outside the Tailor s Shop .

As the music begins , the Tailor is seated in his shop

nl sewing and pressing . Sudde y a great commotion is

heard outside . The Tailor looks up wondering what

is happening , but the noise subsides and he resumes H B his work . e hears the commotion again and the ear

a ll . appears at the door , walking on fours clumsily The Bear draws closer and frightens the poor Tailor n terribly with his growls . K owing that bears love music

em 154 -0 " D R A M A T I Z A T I O N

z just as little children do , the tailor sei es the violin , hastily th B tunes it , and plays music to which e ear dances , rearing B upon his hind legs . The ear stops . In his terror the l Tai or again tunes his violin and plays , and again the Bear dances and growls his pleasure . At length the Keeper comes and takes the Bear away

(again on all fours). The Tailor is so happy that he

e r draws a deep sigh of relief and b gins a me ry whistle . Have the Bear time his growls accurately with the ’ record , as also the Tailor s tuning of his violin . — Rh y th m M edl ey N os . 1 a n d 2 18548

It is suggested that the class be organized into a circus parade , eac h section performing as its appropriate — M A E E : rhythm is played . RC H TH M A Ba nd The leader i keeps time with h s baton , the others playing trombones ,

E The l a n . K G HE cymbals , d drums S IPPIN T M : C owns skip Y B D E E Th and perform amusing antics . FL IN G IR TH M : e Tra in ed Dogs and M on keys dance along and turn in time EE L B E with the waltz rhythm . WH ARROW M OTIV : The

Ele ha n ts p (bodies bent forward) walk lumberingly along , swinging trunks simulated by extending a rms full length , m pal s touching , and swinging arms and bodies from side

PL T onie I P- E . N K : O M H : to side AI S IP he P s . T T ARC “ Ladies on high school or trained h orses prance along B M : A n other a nd . . 2 with mincing steps . ARC H (No )

M Ba d TT C H : n . O I N G N N G AR A on a high wagon TR , RU IN ,

A N D H GH - STE N G HORS ES : Cowbo s I ndia n s a nd I PPI y , .

r K E E . Soldie s . S IPPIN G TH M : The Clowns M A RC H : The

Ca llio e—H l p ave a little wagon for the ca liope , in which a boy sits and plays on the back of a kindergarten chair

th e . to represent the keyboard of calliope Another boy , as the horse , draws the cart THE BOYHOOD OF HANDEL

About two hundred and thirty - ﬁv e years ago George H H Frederick andel was born in a city named alle . S B trangely enough , another baby boy named Johann ach , who was to become as famous as George Frederick , was born in the very same year . H andel showed his love for music when only a baby .

He a would listen with delight when the church bells r ng , and he crowed with joy when he heard songs called ” “ l chora es sung in the church towers on festival days .

He tried to play tunes on toy trumpets and whistles , and when just a little boy organized his playmates into an ’ orchestra . George s father disapproved of this , beca use he wa nted his son to be a lawyer, so he took the toy in stru H ’ ments away . e wouldn t even allow a ny music in his house , and he took George out of school so that he would not be taught music .

Now , George had a kind aunt who sympathized with

his love for music . So she helped him smuggle an old

e0 " 156 'm

THE BOYHOOD OF MOZART

Over a hundred and ﬁfty years ago a boy was born who , even while he was yet

r l only a ve y ittle lad , was to become one of the world ’s very greatest musicians . The boy ’ s name was Wolfgang

z His Amadeus M o art . father was himself a musician , one of the kindest and most lo v ing of fathers , and he was very good to little Wolfgang and his sister , Anna , whom her brother affectionately “ ” called Nannerl . Never were two children happier . While Wolfgang was still a l STATUE 0 " “E YOU N G M OZ ART very litt e boy , a dear friend ’ c tner of his father s , named Sch a h , used to come often to visit the happy family , bringing with him his trumpet , . which made little M ozart dance for joy , because the big man played the most delightful games to music . How

" He Wolfgang loved the big , jolly playmate would say D H S to him again and again , ost thou love me , err chacht

? kl h is o ner And he , with a roguish twin e in eye , w uld “

l . tease the litt e boy by answering , No , I love thee not

M z ol When o art was three years d , his father began to teach Nannerl to play the piano . (The word piano is sub stituted for harpsichord . ) Then his great delight was to “ ” stand by the piano and pick out thirds for himself .

M l 58 °0 ° B O Y H O O D O F M O Z A R T

Father M ozart was amazed and delighted ; so he soon H began to give Wolfgang lessons , too . e learned so fast that very soon he was able to play a minuet after pra ctic ing it only half an hour ; and when be was ﬁve years old he began to compose music himself . One day Father M ozart found his little son writing away very busily indeed . Noticing that he was making

M z some big blots on the paper , the elder o art asked the “ n boy what he was writing . I am writi g a concerto ; it is ” nearly ﬁnished , said the wonderful boy .

When Wolfgang was six , his father decided to take Nannerl and her brother to the great city of M unich and have them play together before the king . The king and all who heard the C hildren play were astonished and de

M z lighted , and good Father o art was so pleased at the l success of his children , especially the ittle boy , that he

decided to take them to Vienna , where the Emperor and M a or Empress lived . The kindly Empress ria Theresa dered that the Children should come to the palace and

play for her .

Now , most boys and girls would be frightened if asked B t to play for a great empress in a wonderful palace . u ’ little Wolfgang didn t know what shyness meant . When

he saw the Empress , he went to her and put up his sweet a face to be kissed , n d then sat on her knee as if he were

M r . her own little boy . Then he asked for Wagenseil ,

who was a famous composer of music , and when he came , “ M z Sir the little o art said to him , , I am going to play one ” of your concertos . You must turn over the pages for me . And the wonderful boy played the difﬁcult music perfectly "

Then an amusing thing ha ppened . When Wolfgang

went to receive the thanks of the Empress , he slipped and P M A ntoi fell on the glassy ﬂoor . The little rincess arie

m 159 s“ M U S I C A P P R E C I A T I O N

nette , a pretty little girl just his own age , very kindly helped him to his feet , and the little boy said to her, “ ” You a re good ; I will marry you .

M z When o art went home from Vienna , he carried with him as a present a violin , of which he was very proud indeed . Soon a famous violin player came to make the

z family a visit , and , to the ama ement of all, the wonderful boy asked permission to play his violin with his father and

M z the famous violinist . Father o art never supposed for a minute that little Wolfgang cou ld play the difﬁcult music h on t e violin . Imagine his surprise and delight when the marvelous boy played his part without a single mistake "

S - " uch a sunny tempered , happy boy he was And what jolly times the boy and his ever - kind father had together "

They had such fun playing games , always to music .

Every night before Wolfgang went to bed , he and his father sang a little duet of nonsense rhymes . And that was only one of the amusing things they did to music .

M z When o art was still but a little boy , he learned to i play a great church organ , and the good organ st was so ’ amazed at the boy s playing that he wrote on the organ ’ ” M ozart s name as a remembrance of this wonder god . Wolfgang and Na nnerl visited many other great cities where they played so wonderfully in public that people : ’ ’ B r couldn t do enough to honor them . ut they we en t

bi ich . spoiled a t , wh shows what very good children they were

B M z con sid y the time o art was ten years old , people B ered him the greatest musician in the world . efore he

died , while still only a young man , he composed some of the b most eautiful music that man ever made , music which boy

and girls love to hear again and again as long as they live . — For o ood of Stra a r us see Pa n a nd His Pi es : Th e NOTE b yh div i , p

Viol n M a kers of Cremona a es 49 to 53 . i , p g

e0 0 1 60 00 »

M U S I C A P P R E C I A T I O N

F a n v n . his sister, who was also a ﬁne pianist As he grew older , his skill as a musician increased , and the fame of his genius spread far and wide . ff Felix was the most a ectionate child you can imagine , and he especially loved his sister, Fanny , with whom he liked to play all sorts of jolly games . One day they were in the garden playing that Felix was a bold brigand chief and Fanny a poor captive girl whom he was Carrying away to the mountains . Suddenly the sport was interrupted by Z M r . the appearance of their music teacher , eller , who told the delighted little boy that he was going to take him to

e . Weimar to see the great poet , Go the

- b Goethe asked the sweet faced lad to play for him , e cause he knew that alread y Felix had become famous as a wonderful boy pianist . After he had listened with the greatest pleasure to the lovely music , he laid his hand on M ’ “ endelssohn s head , and said , You have given me an ” ? hour of pleasure . What can I do for you

Sir , replied Felix , I should be glad if you would give ” me a kiss . Never did a boy have a sweeter , sunnier dis t posi ion , and you may be sure that in return everyone loved the lad dearly . M l When endelssohn was seventeen years O d , he and his brothers and sisters acted the charming fairy play of ’ A M idsu r - N i ht s Dr m the great Shakespeare , mme g ea , and for the performance Felix composed the most wonder ful fairy music . You can tell from his picture as a man that M endels sohn must have been a beautiful child . And indeed he was ,

a - with his delicate , lmost girlish face , golden brown curls , and laughing eyes and mouth .

When he and Fanny were still very young , they had to get up every morning at ﬁve to practice and study ; so

a“ 162 00 0 B O Y H O O D O F M E N D E L S S O H N

l you see they worked as hard as they played . Fe ix began to compose music when he was only twelve years old . f ff When he was ﬁ teen , his brown curls were cut o , and he

H e - oi began to wear long trousers like a man . loved out l door life , a s his music clearly te ls us . He liked to ride

- horse back , and to swim . Indeed , he loved the sea , and “ once said , I think I love the sea almost better than the ” sky " Be sure to hear and learn to love the music of this — a nd happy boy the music of youth , of spring , of fairies ,

ﬂowers .

c1oa INFANTS DANC ING

00 163 00 " CALENDAR OF SPECIAL DAYS FOR THE SCHOOL YEAR The school calendar with its holidays and festive occasions offers rich opportunity for the presentation of supplementa ry and correlative music . Special programs for any of these days , or pageants , may be easily arranged . S C The marches (for list see Graded chool atalogue), i dances , both folk and interpretative , may be found n abundance in the rhythmic section .

For birthdays , special music of the country or time in which the personage lived , may be adapted . Flag h drills , in costume , to any of the marches and some of t e ﬂ dances , will grace the patriotic programs , while ower drills (with bird records added)will enliven many of th e other special days listed .

’ T D S . PATRICK S A Y

«or 164 «or

CARD SUGGESTED FOR INDEXING RECORDS FRONT

BACK

Moods e ers to th e emot ona tem er of th e mus c wh erea s ch a ra cter re r r th er r f i l p i , fe s a t o tem o d na mics nd or st e . p , y , ki yl CARD SUGGESTED FOR IN DEXING RECORDS FRON T

BACK CARD SUGGESTED FOR INDEXING RECORDS FRONT

BACK

Page Page 6 101 0 G m f e . 1 5 a otte fro M i 06 a n o o . 9 97 non 41 1 D w L v , , , , v g , ,

106, 1 16 108 Dew ro 50 136 5 D p , A 0 l e u 50 G nts e 5 m l . a Th 0 0 d e dl n 0 0 0 0 0 0 45 d 0 Di , Did , D p i g i , , s 3 G r r B i ea . Did You er See a a s e . 4 n e o 143 44 Ev L i g b d y , 1 Do a nd th e K tt Ca ts Th e 142 G n erbrea M a n 51 g i y , i g d Don Giova nni (M enuett) 45 Gloria Pa tri 127 87 4 1 87 90 105 Go to lee ol 0 r t . 45 S 5 Do o hy , , , , , , p, D ly 106 108 Golden Trum et Sc ottisch e 37 , p h ,

orot hree- Ste 101 41 101 105 108 D hy T p , , , Drink To M e Only With Thine Goldilocks a nd th e Three Bea rs 80 144 127 Goldﬁnc Th e 36 h , 1 D ublin Jig M edl ey 127 Good - Night a n d Christma s h e 143 ra r uel T . P e . D , y ’ Gusta f s Ska l H t e 143 Epa minon da s a nd is Aun i . . r l 1 06 5 1 os a tz . 4 1 E W , enin mes 75 77 105 Ev g Chi , 53 140 a a n 31 87 91 101 104 , H ppy L d , , , , a rk " a rk "th e a rk 54 77 122 H H L , , a dn Mil ta r S m on 37 107 H y i y y ph y , Fa s odo ola s 56 61 i D , C , ea r th e M us c of th e rum 50 F e 44 131 H i D ara ndo . l , Her Bla nket 53 Fea st of La nterns 50 Here We Go Ro und th e M ul Fedora Ga otte 80 101 109 v , , berr Bus 43 50 y h He le e 50 y , Didd , Diddl F rst of M a Th e 43 i y , ’ ia a t a s Childh oo 54 137 F 101 06 H w h d , rst o el . 32 1 i N w l , ckor Dickor ock 146 147 Hi y y D , Flower Song 137 - rs 1 72 73 Ste n o es . . 4 High ppi g H , , , F h e 10 20 ta n . 75 1 06 1 oun T . 1 i , , , , , 75 82 86 101 104 127 136 , , , o M r nn ka 4 H pp , o A i 4 Four Lea f Clover 120 r 2 o s eer . 7 es or Re n d Runni ng . , F x er m n h e 14 H i o a s s a T . 3 H d , 73, 75 Fr ce— a t r 30 a n N iona l Ai . 1 ouse old nts 51 Fre F lk 5 8 H h Hi nc o Son s . . 5 56 57 5 h g , , , , How Birds Sing 184 59, 60, 61 , 131 ’ How D e Do M a rtner 43 60 y , y P ’ How o el a re th e M essengers 80 Fro es S mm n Sc l 136 L v y ggi wi i g hoo . How M a n M les t Ba b lo 50 y i o y n , From a n In dia n Lodge 75 108 137 87, 88 F l - F u ic 128 un icu i n ula . umores ue 77 80 101 104 H q , , , ,

105, 107, 109 Ga votte (Aletter) 80 Humoresq ue (With Bird Voices) G ss 45 80 01 0 186 Ga otte o ec . . 1 1 9 v ( ) , , , 0 6 G retr . 37 41 5 8 u t 4 a otte G . 4 m t um 1 v ( y) , , , , H p y D p y 101 03 06 r 51 1 104 1 m 0 0 0 0 0 0 0 0 un W n 0 0 , , , H g y i d ill 0 0 0 Ga otte M oza rt 41 101 104 137 unt in th e B a ck Forest 136 v ( ) , , , H l , Ga otte o er 37 107 149 150 v (P pp ) , , Pa ge Page us M Ba be 31 77 82 84 54 H h, y , , , , 101 1 3 106 ttle Birdie 50 136 , 0 , Li ttle Bit of ea en 126 Li H v , A o 0 50 3 l . a 1 1 6 5 I l . 0 107 dy , , 1 , , t Bl e 5 I l ur 1 ttl Bo u . 4 W th Al o . 8 e ea rts . ao i Y H , , Li y 08 109 ttle Bull Ca lf 186 144 145 1 , Li , 6 l s s 5 1 I o e ttle uss 50 13 tt e C r stma S oe . L v Li P y , Li h i h 11 leut il leu B r r 56 ttle ust n 54 t e e e ma . P , P , g Li D l k F r 136 I n 69 0 7 1 5 ttle e . a oc Store . 7 7 C . , , , , Li i ﬂy 101 103 05 107 tt e unters 73 75 101 103 , , 1 , Li l H , , , , I n a Gondola 129 I n l 8 le a ck or er 50 83 a c me . 41 87 88 10 tt n Li Ti , , , Li J H , I n th e Belfr 45 50 111 1 12 ttle ac ka l a nd the Alh a tor —y , , , Li J g I n th e a rk e t Re i 41 136 145 n m&t . P T h g , , 101 Little Miss M uffet 146 n a e t 137 ttle a nc Etticoa t 146 I di n La m n . Li N y ttle Red Hen Th e 136 145 Li , See You 44 45 106 ttle Red R din ood 145 I , Li i g H sol ne Ba llet 0 109 ttle Shoema ker 50 52 a lse . 8 I i — V , Li , ta l Ro a l M a rc 127 Lo ere th e Gentle a rk 54 122 I y y h , H L , Looby Lo o 43 ’ Ja ck a nd th e Bea nsta lk 142 Lott ist Tod 44

a ck - in - th e Pul it 45 50 1 10 ul a Bra hms 80 9 1 93 107 J p . , , , L l by ( ) , ,

2 36 ulla Brodt- erne 101 104 11 , 1 L by ( V ) , , ’ i B 61 106 a du on a a c . 59 J T b . , . 9 9 3 r r i 31 77 Ja l . lla f m E me ol . 1 5 u o m p D 5 , L by , , l r l M 0 0 1 109 120 o Gene a a TCh “ 4 5 8 07 J l y 1 1 , , , Jolly 18 th e M iller 44 J M l r k 58 o of th e M orn n . 54 77 a ouc y i g . , b ’ M a mmy s Song 54 Ka t M a rc e M l ta re 77 104 105 ydid h i i i , , M a rc M nia ture 77 104 105 106 h i , , , M h s 6 5 101 a rc of t e o . . 9 7 h T y , , , 103 107

La Bonne enture 59 61 M a rse lla se 130 Av , i i ’ 45 La Ca s uette u re 60 M s e s . d Pé 59 a ttl . q , Li Pig La n ua ta ne 3 5 80 M a Breeze 137 n . 7 41 4 Ci q i . , , , , y 6 07 9 , 97, 101 , 104 , M a zurka 45, 1 M c 3 M r s 51 136 ere M e . t La l 5 57 61 a uer e . i h . , , g i ’ ’ 130 La M st en l Aire 53 60 M edl e of a t ona l rs . i . , y N i Ai a r a n e M F 81 92 93 101 104 o l 37 elod in . . L g (H d ) 1 y , , , , , a r o —N ew Worl n 80 122 L g d Sympho y . ’ 45 ss M e D nn . 0 0 La ies Da nce 44 nuett ( on Giova i) 0 0 0 ’ 1 6 M en u tt Gluck 41 106 108 ea es a rt . 5 52 13 e L v P y . , ( ) , ’ 80 Le ont Av i on 58 130 M enuett a n el . P d i , (H d ) Let Us s th rr 3 1 11 M enuett M oza rt 41 106 108 Cha e e S u el . 4 q i , ( ) , , , 80 137 54 M enuett (V a lensin) 37

w ° 171 w o Pa ge

M err r stma s octurne in F a t C o 7 n . . 7 y Ch i N E l ( h pi ) , M erry M a kers from Nell 121 G n 37 80 oel 0 , N 8 , 1 18 137 wy , ’ M idsummer- Night s Drea m Nutcra cker Suite 108 50 5 1 1 2 53 O erture . 77 1 1 5 1 v . , , , , M l r M 37 4 101 ta sc ort a rc . 1 i i y E h , , Oa ts ea s Bea ns 48 M e B er 80 101 08 , P , nu t occ n . . 1 i ( h i i) , , Of a a or a nd a Bea r 74 75 92 M nuet a ere sk 45 109 T il , , , i (P d w i) , 93 94 101 104 107 109 1 14 M inuet (Ha ydn M ilita ry , , , , , , , 154 155 S m on 37 107 , y ph y) , Old Bla ck J 80 1 oe . 8 M i 45 80 , inuet n G Beet o en . . ( h v ) , , Old C a nt cleer 50 53 136 101 5 124 h i , , 99 , , 104 , 10 , 107 , 109, Old Fo ks t 80 1 101 a ome . . 8 M 6 8 88 l H , , te tz . 8 5 nu Wa . 7 77 7 i l , , , , , Old M other Hubba rd 101 , 104 , 106 On th e Br e 101 M ock n B r Th e W stl n 136 idg i g i d , ( hi i g) On th e W n M oc k n B r Th e o one i g i g i d, (Xyl ph ) 136 On W n s of Son 137 M e l 41 80 103 i g g . om nt M us ca . . 77 i , , , , Orpheus Da nce of Ha ppy 105 , 108, 124 M 2 3 Spirits ot er Goose o . 1 8 8 h N , Our Fla 50 5 1 122 M ot er G e s 146 47 g , , oos n le . . 1 h Ji g , Our re G rl 14 14 d 7 , 8 M other Goose Lulla by 1 11 Hi i ’ Our tt e G r s 45 M r 50 Li l i l ot er s a er . . h P y ’ O erture M summer- t s M r 3 v id Nigh o n n Gr e . 77 1 7 i g ( i g) , r 7 150 1 53 ea m . . 7 15 152 1 M otive for Running 41 D , , , , l h 6 Ow T e . 5 1 13 M k 2 86 , , ot for . 41 8 e S n . . iv ippi g , , , 0 1 1 , 107 ke r a nca . 147 M r cke 0 Sto . . Chi n 5 P y M r r r 0 a stora a nce from e M . ke . uck a nd u 5 D T y , P l D N ll 92 94 95 136 G n , , , wy a stora S m on fromM es M r 6 . 50 3 S u rre . . 1 q i l , P ”l y ph y

M uffi M 43 s a . n a n , Th e . i h tr t c rs f th e l es 128 M usette G uck 37 80 108 a o o . . ( l ) , , P i i Ai A li M Old K en tuck e 80 101 a tr ot c M e e M a rc 41 72 om . y y H , , P i i dl y h , , 108 75 77 ’ M S a o 51 53 cka n nn s ul a 54 y h d w , Pi i y L l by rouette 80 101 Pi ,

- - 0 5 a m n th e ﬂ ees 50 87 90 1 10 Pit a Pa t . 5 3 N i g . . , , , , ’ s 101 136 Poet s Vi ion . r 77 a rc s 80 1 01 106 10 136 o ona se M ta e . sus . . 8 N i , , , , , P l i ili i 41 153 154 Po Goes th e Wea se . , p l 50 136 a za ret o a . N h P ppy L dy , ’ 136 Needle s Eye 43 Poppies . ll G —M rr 37 0 P ule M eus 127 e n e M a kers . 8 o N wy y , p e l G — t r e 0 st n Th e 5 1 N n a s o a a nc . . 8 o o , l wy P l D— P ili N ew Wor m on a r o 80 ra e u um arnefeldt 77 80 ld Sy ph y L g P l di (J ) , , t Before r stma s 147 101 106 Nigh Ch i , 0 50 6 t n e h e 6 re t u 0 0 0 3 a T 5 13 t 0 0 0 0 0 0 0 0 0 0 1 Nigh i g l , , P y T lip ,

G0 ° 172 eo°

Pa ge ’

a tr ck s Da 127 ﬁ em e Ton a n . St . P i y p P i 51 ta r l . u s S Chi d, A T lip

r- n B ner 122 l t Sta Spa gled a n . Twi igh 41 nkle nkle Sta n a r Bea rer M a rc . . T d d h wi , Twi 1 8 Suga r Plum ﬂ ee . 4 S a llo s Th e 54 w w , Va ls e Bluette T e 66 5 80 95 96 h . 77 a n . 7 Sw , , , , , , , s Voices of th e Wood . 97 108, 109 , 136

olet Th e . Vi , S a nee R er 96 98 105 w iv , , o ets . 0 81 Vi l Low . 8 107 137 S eet a nd . w , , , eet Pea a es 50 136 Sw L di ,

- - 53 36 140 n on 50 Wa h wa h ta see . 1 Swi g S g y , — 101 105 Wal tz i S ar M nor 108 l ia Ba llet M a rc . . n C Sy v h , h p i — 37 4 1 tz n o l 75 77 101 104 107 zz c . Wa l . l ia Ba llet a to . Sy v Pi i , , i g D l , , 45 77 80 82 86 101 103 123 We n of th e W n s . , , , , , , ddi g i d 50 es ttle B r e Sa . Wha t Do Li i di y , T nt li 130 136 a o . . a ra ntella 37 101 129 W r n Th e 74 75 77 95 T , , hi lwi d, , , , , ’ r 3 69 75 96 101 106 107 108 136 137 d B s cn c . 7 e ea . T dy Pi i , , , , , , , , , 82 85 101 103 W s er n F o ers 75 77 106 , , , hi p i g l w , , , Theme for High Stepping Horses 108 37 45 73 75 41 72 73 75 82 86 101 104 W ld orsema n . . , , , , , , , i H , , , , 0 6 10 0 08 1 14 eme for k n . 41 82 86 1 1 82 8 1 1 3 1 Th S ippi g , , , , , , , , 5 e M us c 37 1 5 ll Ba ll t . Willia m Te i , ee B ll G ts Gruff 148 106 109 Thr i y oa , ’ le s T e 148 149 ll- o - th e- W s 75 108 ree tt h . . W Th Li Pig , , i i p , 107 40 s th e rees . . en h le t . 1 n mon t Th t e Litt Hia wa ha Wi d A g T ,

- 0 51 124 136 137 ck ock . 5 Ti T ,

Tiddlel - nks a nd Tiddlel W n s Th e 50 y Wi y i d , 50 e 45 50 11 1 ndm l Th . Wee Wi il , , , 136 32 77 a n th e Sun . e . d To a l Rose esta . W nd Wi d (C l ) , i 80 92 95 101 104 105 108 121 W se B r Th e 50 136 , , , , , , , , i i d, , 36 137 ecker Th e 51 136 1 , Woodp , , To S r n Gr e 1 18 137 Wren Th e 54 75 87 9 1 1 01 105 p i g ( i g) , , , , , , , , Tra cks in th e Sno 50 136 107 136 137 w , , ,

ﬁ iiumerei 32 77 80 101 106 W nken B nken a nd N od . 149 . . , , , , y , ly , NUMERICAL LIST OF RECORDS USED

16001 17331 17869 18440 35625 64201 67896 16094 17332 17897 18448 35636 64202 16136 17368 179 17 18548 35643 64204 16387 17454 17928 18598 35644 64218 16395 17472 17937 18599 35657 64220 16417 17510 18622 35664 64264 16474 17513 18639 64267 16525 17521 18646 64281 16835 17532 18648 64324 16969 17548 18649 64373 16972 17567 18655 64374 16974 17568 18664 64392 16995 17580 18665 64437 17581 64530 17596 64542 17600 64543 17625 64576 17646 64577 17668 64600 17674 64605 17681 64614 17686 64644 1769 1 64670 17693 64705 17719 64706 17735 62660 64734 17761 64758 17776 64760 17777 64766 88073 17784 64784 17840 64792 17842 64841 17844 17868 67201

175 ca n THE INSTRUMENTS OF THE ORC S R BY S G HE T A I HT. SOUND AND STORY

A series of eighteen cha rts 1 4 x 22 showing th e i nstru ments in a bs olute ac c u Oi colo r a n d deta il ; t wo do uble fa ce records which give the tone color of every one in a ppropria te excerpts ; a nd a n ac co mpa nying b o o k l e t g i v i n g a full description a nd his to ry of the in s trume ts ese t ree ts n . Th h u ni tog ether offer for th e ﬁ rst time in history the pra c tica l mea ns of a c o mplete s tudy of the ns truments of th e o rc es tra i h . The microsc opic a cc ura cy of deta il w hic h ha s be en o bs erv ed in th e prepa ra tion o f ea ch cha rt ena bles older s tuden ts to a na lyze the physica l properties of ea ch ns trumen t w t co m lete c la r t eir i i h p i y . Th a ttra c tive colori ng a nd size ma ke in s ta nt a ea l a nd e e n l tt e c ldren pp , v i l hi ma y recel v e a g enera l impressio n o f th e a ppea ra nce of s uc h i ns truments a s they ma e r y h a .

Co nsult a n c to r ea er o r w r te y Vi D l , i fo r f ull i nfo rma tio n to the

Ed uca tion a l Depa rtmen t OR TA KI N G M AC HI VICT L N E C O.

a m en N ew erse U C d , J y , . S . A .

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