What of the Second Hundred Years?
Identifieur interne : 001731 ( Istex/Corpus ); précédent : 001730; suivant : 001732What of the Second Hundred Years?
Auteurs : C. A. FullertonSource :
- Music Educators Journal [ 0027-4321 ] ; 1938-03.
English descriptors
- Teeft :
- Adult classes, Alternate phrases, Emil soderstrom, Extra stanza, Full orchestra, Glee club, Glee clubs, Greatest problem, Human race, Individual notes, Instrumental music, Interesting process, Major scale, Music education, Music educators, Music educators conference, Music supervisors, Musical atmosphere, Musical skill, Normal schools, Note reading, Phonograph, Phonograph method, Reading music, Recording artists, Rhythmical development, Rural children, Rural schools, Rural teachers, School music, Sight reading, Simple elements, Syllable, Teachers college, Teaching music, Teaching songs, Technical skill.
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DOI: 10.2307/3385424
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ISTEX:E189F84EF86124DA1A4E725EDA36BB9DC1E5D34FLe document en format XML
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Fullerton</name><affiliations><json:string>Iowa State Teachers College, Cedar Falls</json:string></affiliations></json:item></author><articleId><json:string>10.2307_3385424</json:string></articleId><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><qualityIndicators><score>4.588</score><pdfVersion>1.5</pdfVersion><pdfPageSize>648 x 864 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractCharCount>0</abstractCharCount><pdfWordCount>3576</pdfWordCount><pdfCharCount>21724</pdfCharCount><pdfPageCount>4</pdfPageCount><abstractWordCount>1</abstractWordCount></qualityIndicators><title>What of the Second Hundred Years?</title><genre><json:string>research-article</json:string></genre><host><title>Music Educators Journal</title><language><json:string>unknown</json:string></language><issn><json:string>0027-4321</json:string></issn><eissn><json:string>1945-0087</json:string></eissn><publisherId><json:string>MEJ</json:string></publisherId><volume>24</volume><issue>5</issue><pages><first>26</first><last>77</last></pages><genre><json:string>journal</json:string></genre></host><publicationDate>1938</publicationDate><copyrightDate>1938</copyrightDate><doi><json:string>10.2307/3385424</json:string></doi><id>E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">What of the Second Hundred Years?</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><p>SAGE</p></availability><date>1938</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">What of the Second Hundred Years?</title><author xml:id="author-1"><persName><forename type="first">C. A.</forename><surname>Fullerton</surname></persName><affiliation>Iowa State Teachers College, Cedar Falls</affiliation></author></analytic><monogr><title level="j">Music Educators Journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1938-03"></date><biblScope unit="volume">24</biblScope><biblScope unit="issue">5</biblScope><biblScope unit="page" from="26">26</biblScope><biblScope unit="page" to="77">77</biblScope></imprint></monogr><idno type="istex">E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F</idno><idno type="DOI">10.2307/3385424</idno><idno type="ArticleID">10.2307_3385424</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1938</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1938-03">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher><publisher-name>SAGE Publications</publisher-name><publisher-loc>Sage CA: Los Angeles, CA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3385424</article-id><article-id pub-id-type="publisher-id">10.2307_3385424</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>What of the Second Hundred Years?</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Fullerton</surname><given-names>C. A.</given-names></name><aff>Iowa State Teachers College, Cedar Falls</aff></contrib></contrib-group><pub-date pub-type="ppub"><month>03</month><year>1938</year></pub-date><volume>24</volume><issue>5</issue><fpage>26</fpage><lpage>77</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Whatof the Second Hundred Years? C. A. FULLERTON Iowa State Teachers College, Cedar Falls T HE MARCH 1936 issue of the JOURNAL carried an article entitled “An Experiment in School Music” in which I set forth my experience in using the phonograph for teaching singing in the rural schools through a period of twenty-two years. By this means, the children were taught to sing a list of songs each year just as they were sung by the recording artists. Rhythmical development was secured through simple physical movements similar to Dalcroze eurhythmics. All of these activities in song and rhythm were standardized by the phonograph. The almost magical results of this phonograph method soon attracted the attention of the public. The singers from the rural schools were assembled into county choruses, and their audiences were charmed at hearing such beautiful singing from so unexpected a source. The fact that tens of thousands of one-room rural school teachers have, through cooperation with the recording artists, brought the beauty of music to the children in their schools by this process naturally arouses the interest of music educators. Another significant fact is that these rural teachers found the music so interesting and the association with the artists so stimulating that county rural teachers' choruses automatically came into existence. More astonishing even than the fine singing of these rural children, was their growth in musical skill as shown by the readiness with which they could learn new songs, notwithstanding the fact that no effort had been made to have them learn to read music note by note. Through the entire period of twenty-two years, the phonograph was used in the Teachers College in the adult classes in beginning music, and its influence in developing the listening attitude and in standardizing the singing of each individual was just as valuable with these classes as with the children. Before accepting a position in the Teachers College forty years ago, I had spent a year in the University of Chicago as a special student, and, in John Dewey' s class, received an impetus along the line of basing educational progress on the experience of the learner that has sent me through all these years with increasing interest; and the inspiration that I received from W. L. Tomlins while singing in his Apollo Club, as well as working in his private studio, has done much to spiritualize music education for me. During all the time I spent in Teachers College I specialized in elementary music and taught beginning classes of adults. This appealed to me as the most inviting field for a study of educational processes in music education. A brief summary of what was undertaken in these classes before and after the phonograph was adopted for daily use, Page 26 will be necessary in order that the background of our experiments may be understood. Forty years ago, we, in common with teachers in general, taught the major scale to beginners, taught them to read music by syllables-do, re, mi, etc.-and we added one feature, not so commonly used, that of beating time to the easy exercises and songs. We drilled the students vigorously on reading by note. We mastered the simple elements of theory by the use of time tests, such as writing the major scale in any of the nine common keys in thirty seconds. Practically all of the known devices for drilling students in reading by note were used in these adult classes, and some new ones were devised. Strenuous efforts were made to overcome the tendency to sing in a merely mechanical manner, note by note and measure by measure. Apart from all of this technical drilling, interest was running high in music itself among the students; we always considered the part of the music period devoted to singing to be a rehearsal. All students were required to take two terms of music; but at the end of the two terms, after mastering what was undertaken and emphasizing singing as well as technical drill, the momentum carried us into a third term, and then a fourth. This interest created more demand for voice teachers and piano teachers, and the music department grew accordingly. In 1903, we gave The Messiah with a chorus of 150 voices in the May Festival with the Thomas Orchestra. The same year, two of our glee clubs combined in putting on De Koven' s opera Robin Hood, and our first glee club of men made a short concert trip. In the meantime, we had been delighted with the arrival of the Modern Music Series which set out to use the song as the basis for sight singing, and we worked diligently to make a success of this plan. We kept in close touch with what was being done in all the summer schools conducted by the various publishing companies; I attended one or more national educational meetings every year, attended the meetings of the Music Educators Conference regularly from its beginning in 1907, visited village schools, city schools, and normal schools extensively, and, in 1908, under the auspices of the National Civic Federation, I went with a group of American teachers to study the schools of Great Britain. In the summer of 1904, we had Alice Inskeep, of Cedar Rapids, Iowa, as the leading expert in getting the spirit of music into the hearts of a class. In the summer of 1905, we had Nannie Love, of Muncie, Indiana, with us, for she was the outstanding expert, at that time, in bridging the chasm between rote singing and note reading, and also in reclaiming rhythm from the domination of measures and beats. She sketched the Music Educators Journal rhythm in circles. In the summer of 1908, we had Alys Bently, of Washington, D. C., the best specialist available in utilizing the natural play spirit of kindergarten and primary children in school music. In 1907, I made a speech at the first meeting of the Music Educators Conference at Keokuk, Iowa, on “How to Develop Technical Skill in School Music without Sacrificing the Spirit of the Song.” In 1909, we completed the Ten-Step Method which is a device for mastering the elements of music and developing technical skill, using the song as the basis. The first step is to sing the song, another step is to commit the syllables of the song to memory, the last step is to write the melody on the staff in any key called for. This method, now reduced to nine steps, has been used continuously for twenty-nine years. In 1912, I wrote a paper for a meeting of the National Education Association, in Chicago, on “The Principles of Scientific Management Applied to Teaching Music in the Public Schools,” with special stress laid upon eliminating false motions. During all this time, note-by-note reading held its place in our program. But in 1913, the important thing happened. Like Minerva, the goddess of wisdom, who sprang life sized and fully armed from the head of Jupiter, the Choir Plan sprang from the little phonograph, life sized and fully armed for its task to provide a means by which musical skill should be developed through the use of music itself in a musical atmosphere. The plan was a success the first day it was used; and in the twenty-four years following, it has never failed once when given a fair chance. All of the elements involved in good singquality, rhythm, diction, intonation, attack ing-tone and release, phrasing, pronunciation, and interpretation-were included in the first lesson and in every succeeding lesson. The fact that the class got most of this training unconsciously while enjoying the singing of attractive songs, is one of the strongest recommendations for the plan. We used the same methods with the phonograph in the adult classes in beginning music as we used with the children out in the schools, except for this difference that with the adult classes we did more advanced work, particularly in rhythm and theory. To assist us in preparing teachers for the work that would be expected of them we sent out three questionnaires in 1913, 1917, and 1924 to superintendents of schools, music supervisors, and presidents of teachers' colleges and normal schools. The answers varied, of course, but ability to sing well was rated as of first importance; methods for presenting music and ability to read by note were also emphasized. We first introduced the phonograph as a means of teaching songs because some of the rural teachers were not able to sing, but before we used it long we came to consider it as the best means of teaching music irrespective of the musical ability of the teacher. After twentyfour years of experience with this use of the phonograph, I believe that about fifty per cent of the value March, Nineteen Thirty-eight of the instrument is the one hundred per cent standard that it keeps constantly before the students, and about fifty per cent is that it furnishes the basis for objective tests in singing and rhythmical activities. If the recording artists were to come into the schoolroom to teach the songs, they could present the songs satisfactorily to the class (although few of them would be in favor of doing it as often as it is necessary) but they could not check the singing of the pupils with their own voices. Inevitably, before they were there long, they would be using the records and rising to a decidedly higher plane of efficiency by doing so. The more musical the teachers are the more keenly they appreciate the musical atmosphere created in the school by the phonograph, and the beautiful singing that results from having every singer sing the song accurately with fine tone quality. One reason why both teachers and pupils enjoy this phonograph method is that it produces such splendid results in accuracy and thoroughness by so interesting a process. Each step in the course of procedure that has been developed is presented to the class as a challenge as in a game, and if the class wins it is ready for the challenge of the next step; if it loses its progress is automatically blocked till it does win. Those who have not yet learned to sing, listen without attempting to sing except for frequent trials. Early in my experience in these adult classes, I learned that only those students who became so familiar with the syllables that they could sing them to familiar melodies without a book, could use them very effectively in reading music by note. We, therefore, stressed the memorizing of the syllables as an extra stanza to easy songs. We also found that this was a valuable aid in preparing students to teach note reading effectively in the schools. To assist students in learning the syllables as an extra stanza we had the syllables to a dozen songs printed in the book and also had them recorded on the records. Gradually the singing of songs, the rhythmic activities, and the mastery of the essentials in theory, absorbed more and more of our attention; but we constantly kept in mind that we were preparing teachers to teach music with the various music systems in use, some of them working under the direction of music supervisors and some of them without supervisors. The classes, notwithstanding all our efforts, seemed to be growing away from their note reading ability. It used to disturb me, pedagogically, to see students, who were getting along beautifully in an oratorio society, or opera, or glee club, come into the classroom and drop to the level of mediocrity in battling with the note-by-note procedure, such as is taught in the schools; but it was the youngsters from the rural schools, who had never spent a minute in note-by-note reading of music, who astonished me with the ease with which they could learn new songs. This forced me to begin an investigation in regard to the value of the note-by-note reading of music, and I had the surprise of my life when I began to inquire from adults hlow they learn new songs. Reports CONTINUED ON PAGE SEVENTY-SIX Page 27 What of the Second Hundred Years? C)NTINUED FROM PAGE TWENTY-SEVEN m Iu5CPublicrations We present a group of publications of vital interest to Music Educators who will find t h e m of inestimable value in their school music work. A Practical FAY BAND METHOD Method for Band Ensemble 14 Books-$.75 each Teacher' s Manual-$1.50 and FAY STRING METHOD The newest manner of Procedure. 4 Books-$.75 each Manual, including Piano acc.-$1.50 SAVOY BAND BOOK A collection Score, of Gilbert & Sullivan favorites. 25 books-$.35 each including texts of operas-$.75 17 Gilbert SAVOY BAND LIBRARY & Sullivan arrangements for band and ensemble Single numbers, complete with score.$.75 Double numbers, and score ………$1.00 -NEWFESTAL PROCESSION The March of Pomp and Dignity Band and Orchestra) by Henry Cross, Arr. by Mayhew Lake. Band and Score ………………….$1.25 Large Band and Score…………. Orchestra and Score……………. Full Orchestra and Score………. (for P. 1.75 1.00 1.50 from four thousand teachers show that less than two per cent of them think of any names for the individual notes when learning a new song. Of the ten thousand high school students interviewed ninetytwo per cent of them pay no attention to the names for individual notes. In the question at issue in regard to reading music in the schools, it is not the syllables do, re, mi, etc., that are on trial, it is the note-by-note procedure. If any artificial method is to be used the syllables have an overwhelming advantage over any other for the following reasons: (1) They are singable and the numbers and letters are not; (2) There is a specific name provided for every tone including the chromatics; (3) In open competition with the numbers and the letters they have been adopted almost unanimously. Even if note-by-note reading of music should be entirely abandoned in the schools, learning the syllables as an extra stanza to a considerable number of simple songs would continue to be highly valuable from an educational standpoint. First, they help in establishing a key feeling. Second, they simplify the study of theory, including elementary harmony. Third, they assist in the beginning work in instrumental music; and fourth, they simplify transposition. The problem that we are facing is not how shall we teach note-by-note sight reading in the schools, but shall we teach note-by-note sight reading in the schools? This is clearly the greatest problem in music education before the American people. If note-by-note reading of music in the schools helps to get the beauty and power of music into the lives of the people, it should be promoted. If it hinders, it should be abandoned. Let us imagine a complete abandonment of note-by-note reading for at least two years and see what would happen. Since I believe the phonograph raises the efficiency level in school music-in rural schools, graded schools, and adult classes -on an average from twenty-five to fifty per cent, I shall assume a phonograph and a very definite method of procedureone that has proved its worth in enabling the rank and file of teachers to secure beautiful singing from the rank and file of pupils. (1) Only songs of musical merit will be used. There will be no excuse for the little wooden songs and exercises made only for note reading. (2) Every time any child hears a song sung, he will hear it correctly sung; and when he sings it, he will sing it correctly. (3) The phonograph will establish a line of demarcation at once between those who can sing accurately and those who cannot. The singers, as soon as they learn a selected list of ten songs, constitute the school choir. The nonsingers listen more than half of the time without attempting to sing, for they cannot make much progress in learning to sing when their ears are filled with their own discordant tones. The aim will be a choir in every schoolroom and every boy and girl in the choir. (4) The listening attitude will be developed by the method which has been TEMPO DI BALLO Recommended on 1938 Contest List SCARLATTI-arranged by Arthur Brandenburg for 3 Clarinets. Complete, including score ……………$.75 The Second Century OCTAVO CHORUSES GOLDFISH-A new humorous number for boys' voices (T.T.B.B.) by Henry P. Cross, Price ………….$.15 THEREBE NONE OF BEAUTY' SDAUGHTERS Words by Byron. REQUIEM-Words by Robert Louis Stevenson. A double number for S. A. B. a cappella by Frederick Quinlan, price.$.15 0 Examination Copies on Request worked out for teaching songs by alternate phrases with the phonograph. This will guarantee good tone quality in every grade. In this way, the active participation of the ears in every music lesson will be automatically secured. (5) By singing alternate phrases with the phonograph, the class will develop the habit of singing the songs by phrases as artists always sing, rather than by measures, as is often done in schools, glee clubs, and choirs. (6) Rhythmical development through physical movements standardized by the phonograph, and stepping the note values in songs results in a complete mastery of all the ordinary problems in rhythm by a highly interesting process and still provides for flexibility. (7) A thorough knowledge of the minimum essentials in theory is guaranteed by exercises to the rhythm of the phonograph, and the results are obtained by the interesting process of using the musical characters in reproducing the song on the staff by the nine-step method. (8) Part singing will be a joy. The alto will be recorded separately on the record and learned phrase by phrase by the entire class. Later the class will be divided and sing different parts alternately. This has been demonstrated successfully for years even with rural children. It will be no longer necessary for children to come up through a crude stage in singing. (9) When music itself is brought into the schools to do its own training, practically every lesson will be preparation for a festival. When well over ninety per cent of all the grade boys and girls are in the choirs, democracy will have found itself in school music, and the artistic standards will be as high throughout the grades as they are now in the high school glee clubs. (10) This rich singing experience, the mastery of rhythm and the simple elements of theory, constitute an ideal preparation for the study of instrumental music, for membership in the singing organizations or for further study of music, while the masses of the pupils will be preparing for future enjoyment of music by having present enjoyment. A As time marches on, science and machinery are getting farther and farther ahead of the social development of the human race. Inevitably, science and machinery will continue to progress, for invention depends upon a limited few Send for Complete Music Instruments, including Operettas, mental Music, And Complete Catalog of Musical of all Publishers, Choral and Instru Methods, etc. Record Catalog SINFONIANS Plan to attend THE BREAKFAST-INITIATION Tuesday Morning, March 29th Hotel Jefferson $1.00 7:30 A.M. 0 iI Page 76 Music Educators Journal master minds while progress of the race in preparing to live together harmoniously inust depend on the hearts and minds of the masses. This gradually spreading gap between the human race and its machinery is the world' s greatest problem. It is the perpetual and increasing cause of wars. Music may make a valuable contribution towards solving this problem if given a good chance. In addition to the course of procedure suggested above, I make the following recommendations: (1) We should bury with the century that is just expiring, all of the grim old pedagogy that has been imposed on school music by the calculating adult mindthat mind that arranged the rudiments of music into drill exercises for teachers to use with the children in building up tunes out of notes and beats. (2) We should keep in close touch with those psychologists who interest themselves in music education from the standpoint of the children. We should give special attention to the marvelous record that children make, before entering school, in acquiring a vocabulary in a “preschool,” organized and conducted largely by themselves. (3) We should abandon the notion that so-called music appreciation can be added to people from the outside-that a community is becoming musical because it has a band and an orchestra, or a glee club and a choir, or that a nation is becoming musical on account of its radios and motion pictures, however helpful these may be; indeed we should accept the fact that the real background for musical growth and appreciation is, as nearly all music educators know, the participation of the individual in the successful recreating of music. (4) We should bring music education up into the front ranks in this machine age by drafting into service one of the marvelous machines of our time-the phonograph-to serve the higher interests of the people. Many wonderful machines are doing things to the people; here is one that does things for them. It brings rhythm and melody directly to the learner in a language that all understand without imposing upon them a preliminary explanation of all the rudiments involved. (5) We should develop music festivals and let the contests fade away. Gratifying the gambling instinct is operating on a level too low for the social art of music. In prize fights, rooster fights, etc., winning within the rules is the whole objective. Probably side-line enthusiasm mounted. as high in the cockpits of a hundred years ago as it has ever reached, but the game was suppressed in most civilized countries in the interest of the feathered bipeds. Music is robbed of much of its charm when it is used merely for beating somebody. Even in sportsmanlike England, I found, some years ago as I investigated the music contests, that there were some rankling feelings left over that music should not be putting into people' s hearts. I came back to America and kept still about contests. Every influence that can contribute to good will among men is at a premium. A music festival participated in by large numbers, with the audience joining in a couple of numbers, provides an ideal setting for musical expression. Everyone is there to enjoy music. Everyone is a judge. Everyone goes home a winner, and the real stimulus for artistic performance is there, abundant in quantity and superior in quality. Singing for the gods is the best way to insure the real and permanent interest of men. March, Nineteen Thirty-eight Mixed Voices.15 1045 Life' s A Dream Worth Dreaming ………………. Hollins.15 044 I Love My Love …… Holden.15 A Song To A Tree. Buchhauser.15 1043 1041 Nightingale …………. Curry 1040 1 Am Music……… Miessner 1037 Let Us Make Music… Miessner 1029 Flag of My Land……. Boyd 1022 Dreams of Spring. Strauss-Saar io1 A Note of Golden Song…Saar 1046 Where Corals Lie……. Read Treble Voices-S.5.A. 3053 In Pride of May……. Miller 3052 The Flowers O' The Forest…. 3051 3050 3048 3042 3011 .15 . 12.15.15.15 .15.08.15.25 .25.15 3029 Dreams of Spring… Strauss-Saar.15 April Song ………. Harleson 0 Irish Hills…….arr. .12 ……………… Roberton Invocation to Peace…. Mc Leod Nightingale ………… Curry Spring …………. Schmutz 3009 Strawberry Fair ……. Protheroe Male Voices Lester .2 .15 oos Alma Mater ………. Custance.15 4054 Cantatas for Treble Voices The Chinese Emperor And The Night Hecker ingale (Two-Part) ………. The Jumblies (Two-Part) …. James The Quest Of The Queer Prince (Two-Part) ……………. Hyde The Spider And The Fly (Two-Part) ………………… Protheroe The Singers (Three-Part SSA)……. ……………. Bomschein .40.40.40.40 .40 4053 0. For A Thousand Tongues… …… arr. by Emil Soderstrom.15 4052 4051 4049 I Dream of Jeannie………. Who' s That Tapping … James A Song To A Tree. Buchhauser Song of The Tinker …… Olds .15 …… arr. by Emil Soderstrom.15 .15.15 4048 Hymn To The Morning……. ………… Wagner-Wilson 4047 4019 Blow Trumpets Blow …. James Land-Sighting ………. Grieg .15 .15.15 Perpetual Motion by Carl Bohm, arranged by Merle J. Isaac, is a brilliant show-piece for the school orchestra. Not difficult. Prices: Full Orchestra $1.50, Small Orchestra $1.00, Extra Parts.20 Be sure to examine these titles before planning your spring programs. Use this advertisement as an order blank to your dealer. or 23 E. Jackson Blvd. H. T. FITZSIMONS COMPANY Chicago, Ill. NEW CHORUSES for the Spring Solveig' s Song ………………………………. S.A.T.B. Where from the Eye ………………………………. Sydney Kingcups …………………………………………. ……… Thomson Maurice Blow er Grieg-Sodero T.T.B.B. Ould Plaid Shawl …………………………………. Haynes-de Brant arr. Scherer Hymn to the Night ………………………. Campbell-Tipton, We Adore Thee …………………………………….G. P. Palestrina the Starry Midnight Awake ………………………… Mendelssohn-Holler WOMEN' SVOICES Harris Requiem for a Little Child (S.S.A.A.) ……………………… Victor The Peaceful Western Wind (S.S.A.)……………………… E. H. Thiman The Violet (S.A.)……………………………………….E. H. Thiman When the Morning Riseth Red (S.A.)……………………… Robin Milferd Leo Sowerby Jesu Thou the Beauty (S.S.A.) ……………………………. Levenson Twining Dance (S.S.A.)………………………………… arr. Lullaby (S.S.A.)………………………………………. Ruth Magney Approval copies sent postpaid THE H. W. GRAY CO., Inc. Sole Agents for NOVELLO& CO. 159 East 48 St., New York Music Teachers HERMANN MAIER, Mus., M. A., Manager R. B. If you cannot attend, write at once for information and registration blank. We welcome enrollments of recent graduates and experienced Music Educators who are ready for advancement. Be sure to see us at the St. Louis Convention. Placement Service NEWYORK, Y. 516 Fifth Avenue, N. Page 77 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>What of the Second Hundred Years?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>What of the Second Hundred Years?</title></titleInfo><name type="personal"><namePart type="given">C. A.</namePart><namePart type="family">Fullerton</namePart><affiliation>Iowa State Teachers College, Cedar Falls</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1938-03</dateIssued><copyrightDate encoding="w3cdtf">1938</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1938</date><detail type="volume"><caption>vol.</caption><number>24</number></detail><detail type="issue"><caption>no.</caption><number>5</number></detail><extent unit="pages"><start>26</start><end>77</end></extent></part></relatedItem><identifier type="istex">E189F84EF86124DA1A4E725EDA36BB9DC1E5D34F</identifier><identifier type="DOI">10.2307/3385424</identifier><identifier type="ArticleID">10.2307_3385424</identifier><recordInfo><recordContentSource>SAGE</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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