lation to nearly related keys; (3) the ability to harmonize, on paper, in four vocal parts, melodic fragments involving the use of triads and the dominant seventh chord and their inversions, in major keys. After 1906 the candidate must also meet the following requirements in ear training. To name, as played by the examiner, intervals involving tones of the major scale, the three principal triads and the dominant seventh chord in fundamental position, and the authentic, plagal, and deceptive [v (or v7) to vi] cadences; to write a diatonic, major melody of not more than four measures in simple time, involving half, quarter, eighth, and dotted notes (the melody to be played, in its entirety, three times by the examiner). 1. Piano.-A practical knowledge of various kinds of touch; the ability to play scales, major and minor, in simple and canon forms, in sixteenth notes (at metronome speed, 100), and three-toned and four-toned arpeggios in sixteenth notes (at metronome speed λ=75), the ability to play, with due regard to the tempo, fingering, phrasing, and expression, the studies by Hasert, Op. 50, Book 1; Haydn's Sonata in E minor (Peter's Edition, No. 2; Schirmer Edition, No. 2), the Theme and Variations from Mozart's Sonata in A major (Peter's Edition, No. 12; Schirmer Edition, No. 9), Mendelssohn's Songs without Words, Nos. 19 and 49, and Schumann's Romance in F sharp major (Op. 28, No. 2); the ability to play at sight chorales and such pieces as the first twelve numbers of Schumann's Jugend-Album (Op. 68). [A candidate may offer equivalents for the studies and pieces mentioned, on the approval of the department.] 2. Voice. The ability to sing, with due regard to intonation, tone quality, expression, and enunciation, the vocalises of Concone, Op. 9, and not fewer than six of the following songs (preferably in the English version): Schubert, Who is Sylvia? and Hark, Hark, the Lark; Mendelssohn, Morgengruss; Schumann, An den Sonnenschein; Brahms, Der Sandmann; Franz, Widmung; Grieg, Das alte Lied; Chopin, Mädchens Wunsch; Massenet, Ouvre tes beaux yeux; Paine, Matin Song; the ability to play pianoforte accompaniments of the grade of Concone, Op. 9; the ability to sing at sight music of the grade of hymn tunes by Barnby, Dykes, and Stainer, and of the studies in Abt's Vocal Tutor, Part III. The student must also give evidence of having an accurate ear and of having laid a good foundation in the development of the voice. [A candidate may offer equivalents for the songs mentioned, on the approval of the department.] 3. Violin.-The ability to play, with due regard to bowing, fingering, tone, intonation, and expression, such studies as those by Dont (Op. 37), Mazas (Op. 36), and Kreutzer, and such pieces as the moderately difficult solos of Spohr, Wieniawski, Godard, and Ries; the ability to read at sight such music as the second violin parts of the string quartets of Haydn and Mozart. 4. Students wishing to be examined in the playing of other instruments should correspond with the music department. NOTE. Students considering submitting music for entrance to college are advised to correspond with the department, stating in detail what their preparation has been in theory and especially in the practical subjects. In the latter students must give evidence of thorough foundation work in the technique of the piano, voice, violin, or other instrument, in addition to being able merely to play or sing the actual requirement mentioned. Certificates will not be accepted in music. CORRELATION OF MUSIC AND NONMUSIC COURSES. In the correlation of music and nonmusic courses, colleges and universities lead. The attitude assumed by independent schools of music appears to be similar to that taken by schools of technology in general education; they take the position that they are professional training schools, and naturally concentrate their efforts on turning out composers, pianists, singers, theorists, and pedagogues. They do not consider nonmusical subjects to be an essential part of their curricula. Yet in the best of these schools there is shown a recognition of the value of broader culture and an inclination to include such subjects as will increase the efficiency of their graduates. The New England Conservatory of Music has recently established a reciprocal relation with Harvard University, through which students in the conservatory can attend courses in English, French, and German literature, English composition, fine arts, physics (especially acoustics), and public speaking. In college and university music departments gratifying progress has been made in the correlation of courses with those of other departments, demanding, in a very considerable number of institutions, a greater or less amount of collegiate work as a part of the graduate course in music. Reciprocally, music as an elective is receiving credit as a subject in baccalaureate courses. MANNER OF PROMOTING STUDENTS FROM GRADE TO GRADE. The manner of grading students and of determining their advancement from one grade to the next is significant as indicating to what extent system and accuracy in determining the standing of music students are attained. This has been a decided obstacle in the way of the admission of music to courses leading to the baccalaureate degree. Perhaps no single disclosure by the investigation is more encouraging than this. While the advancement of students still rests in many cases with the instructor, or with the instructor and director of the department jointly, the development of a system of accurate grade marks, based on examination and recitation, gives promise of the eventual setting up of such standards as will result in the unifying of educational effort. The following tables give the per cent of schools giving examinations in theoretical and practical music; of schools giving written, oral, and actual performance tests; of schools recording by marks the grade or quality of a student's work; and of schools in which the instructor or faculty determines passing grade: Per cent of institutions giving examinations yearly or oftener. Per cent of institutions having a system of marks for recording grades and determining Class of institutions. Independent schools of music. passing grade. Colleges and universities.. Normal schools. Secondary schools.. 763 77 50 73 24 50 50 These figures are based on 207 replies to the second questionnaire. From the per cent of schools giving actual performance tests, it would appear that the opinion that a sufficiently accurate and systematic grading of work in practical music can not be done is losing ground, and encouragement is given the belief that there may develop a system of grading in practical music which will satisfy educators and remove one of the great obstacles to the admission of applied music to general educational courses. EDUCATIONAL QUALIFICATIONS OF MUSIC STUDENTS. There appears to be a growing purpose upon the part of departments of music in colleges and universities to demand a certain amount of general educational qualification from those who wish to enter graduate courses in music. In this connection, the following table gives the per cent of music students in 595 institutions who have completed a high school course of at least three years: The time devoted to the study of music (not including preparation) is shown in the following table, which gives the per cent of students devoting less than five hours, more than five hours but less than ten, and more than ten hours per week to recitation. PROPERTY DEVOTED TO MUSICAL INSTRUCTION. The questions relating to finances were not answered by 348 of the 595 schools returning statistics, hence the statements of amount of Class of institutions. Class of institutions. property devoted to musical purposes and of yearly expenditures for music instruction are far from complete. They are significant, nevertheless, and if increased in proper proportion by a full statement would show a very large investment in music education. It should be remembered also that these figures refer only to organized schools, the immense sums expended on private instruction being unknown. Libraries and museums. In all, 39,538 volumes, valued at $62,120, are reported by the 595 institutions. In several instances private libraries are reported as at the service of students. No museums are reported. Property devoted to musical instruction. Schools re porting. Amount. Schools re- Amount. Schools re- Number. Schools re porting. Amount. Schools re porting. Amount. Annual receipts from instruction in music. Schools re 23 69,307 8 15,940 9 10,504 54 31,533 20 23,560 191 1,267,247 1,418, 091 porting. Schools re porting. III.-STATISTICAL TABLES. Statistics of the institutions replying to the first questionnaire are given in the tables which follow. Tables 1, 2, 3, 4, and 5 summarize Tables 6, 7, 8, 9, and 10, which give in detail the number of schools, instructors, and students, and the number of graduates and of students receiving certificates during the last five years. The geographical distribution of the institutions is also shown. |