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AUTHOR Haack, Paul A.TITLE Country School Legacy: Music on the Frontier. Country
School School Legacy: Humanities on the Frontier.INSTITUTION Fountain Plains Library Association, Silt, Colo.
Country School Legacy Project.SPONS AGENCY National Endowment for the Humanities (NFAH),
Washington, D.C.PUB DATE 81NOTE 99p.; For related documents, see RC 013 456-459, ED
211 243-254 and ED 211 266 -280. Appended are copiesof title pages and tables of content for 12 musicbooks used in country schools.
EDRS PRICE MF01/PC04 Plus Postage.DESCRIPTORS *Acculturation; Educational History; Elementaiy
Education; *Music; *Musical Composition; MusicalInstruments; *Music Education; *Music Teachers; OralHistory; Orchestras; *Patriotism; Religious Factors;Rural Areas; School Community Relationship; Singing;Social Integration; Vocal Music
IDENTIFIERS *Country School Legacy Project; Musical Analysis;Musical Scores; Songs; United States (MountainPlains)
ABSTRACTAn overview of early country school music and music
education in the Mountain Plains region of America providesimpresssions gained from texts, journals, official records, andpersonal interviews. Music is portrayed as a socializer to engendercommunity spirit, an enhancement of patriotism, a means toenculturateto the "American way of life," a symbol of validation,and an accompaniment for rhythmic activities. Covered are: schoolcommunity activities; scholastic aspects of music in country schools;teacher and student roles in the instructional process; instrumentalmusic; technology (grammophone, victrola, radio); and music texts andsong literature employed in schools during the late 19th and early20th centuries. An examination of music functions, via an analysis ofverbal and music content of 55 songs, shows that song texts can becategorized according to "six key word factors" (joy, kindness/love,nature, religion, school, and work/diligence). Analytical statementsconcerning each song are concluded with the initial letters of thekey word factors which applied. Conclusions show songs wereconsistently employed for inculcating and enculturating students withthe dominant society; song values'4entered on factors identified;song materials were the equivalents of McGuffey's readers; andmusical qualities reinforced basic simple values. (AH)
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COUN1RY SCHOOL LEGACY: Humanities on the Frontier
COUNTRY SCHOOL LEGACY: MUSIC ON THE FRONTIER
Paul A. HaackAssociate DeanSchool Gf EducationUniversity of KansasLawrence, Kansas
Funded by the National Endowment for the Humanities
Sponsored by the Mountain Plains Library Association
1981
U S DEPARTMENT OF EDUCATION
NATIONAL INSTITUTE OF EDUCATIONE;)I't 1,t, \ AL 1-41-WURCES INf OHMATION
f NUR (ERIC'haf, been f elf orifff effl
^~ tffe Iff tut f,f,of)11,,Iffon
MI If ' ^~~ ~^~ ttt it:
COI NTRY SCHOOL ADMINISTRATIVE STAFP
Project Metier:Andrew Gut IlfordColorado Mountain College/silt Elementary SthoolAlit. Colorado
Media DirectorRan/kill TeeuvrenPhoto ArneekePort Collins. Colorado
Exhibits Director:Berkeley LohsnovDenver. Colorado
pistol Allen*Joseph EdelenI. D. Weeks LibraryUniversity of South MantaVermillion. South Dakota
COUNTRY SCHOOL LEGACY: HUMANITIES ON THE FRONTIER
The Mountain Plains Library Association Is pleased to be Involved in thisproject documenting the country school experience Funding of this projectfrom the National Endowment for the Humanities, cost sharing and othercontributions enabled us all to work with the several state-based HumanitiesCommittees as well as many other state and local libraries, agencies andInterested citizens. We are deeply Impressed not only by the enthusiasm forthis work by all concerned but by the wealth of experience brought to bear infocusing attention onand recapturingthis Important part of history _andbow we got here. This project AMMO* ideruify many of the roots and -cheracter formation" of our social, political and economic institutions in the %vest
Already the main Project objective seems to be met stimulating library usageand Increasing circulation of historicaland humanities materials In this regionPublic interest Is rising In regional slate and localhistory Oral histiky programsare Increasing with greater public participation. The shirty of geneakigv andthe search for this Information is causing much interest in consultingandpreAervInghisloriCal materials. What has been started here will not end w nitthis project The immediate results will tour theentire region and be availablefor any who wish the program. film. and exhibit There will be more dtcussionof --and action onthe Issues Involving the humanities next public poticies,pas; and present. The Mountain Plains Library Association Ls proud to he itpartner In this work, the Country School Legacy and Its contribution to understanding humanities on the frontlet
Joseph AndersonNevatia 5121r Lib ra natPaw PresidentMountain Plains Library Association
BEST COPY AVAILABLE
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CRESSRECEIVED
COUNTRY SCHOOL LEGACY: MUSIC ON THE FRONTIER
Paul A. Haack
She looked at the line of children. There, the very first inline was Georgie Bailey, his bright blue gaze fixed expectant-ly upon her. "How did you get them in? Did you just say, comein, children? Or --"
"What are we going to sing?" Georgie asked.
"Sing?"
"We always march in singing."
And so the year began with "Onward Christian Soldiers." Class
adjourned that way, too. (Marion Cockrell, The Revolt ofSarah Perkins, New York: David McKay, 1965)
This paper is meant to provide an overview of early country school
music and music education in the mountain-plains region of America. The
first section is an informal amalgam of impressions gained from the
sources listed in the bibliography, including texts, journals, official
reports and personal interviews. Part II is comprised of a more formal
analysis of the song materials useci in the country schools, and will
focus particularly on material from the last half of the 19th century
and the early 20th century, when the frontier was moving westward across
the Mountain Plains region. The analysis will be concerned with the
verbal, musical and functional elements of the selected sampling of
songs, and among other things will emphasize the use of music in the
enculturation and Americanization of various frontier ethnic groups--in
keeping with the then prevalent "melting pot" theory.
A
2
Part I
Music in the Country Schools: An Impressionistic Narrative
Music seems to have been a part of many country schools' activities
f..-om the earliest time forward. Often, particularly at first, it was
not regarded as a curricular subject to be studied for its own sake, not
as a "basic" in the sense of "readin', writin' and rhythms," but it soon
was recognized as a basic in a more direct, functional sense. It was
employed as a socializer to engender a community spirit of oneness and
belonging in the students (and during the weekend or evening activities,
it did the same for their elders as well). It was employed as a means
of enculturation to the "American way of life" for the ethically diverse
populations found on the frontier. It was used as an entertainment, as
an enjoyable change of pace from other kinds of school activities.
Often it was used as a symbol of validation--to officially open the
school day with a song. And at other times it was simply used to accom-
pany a march around the eassroom, which during cold weather was done
not so much for rhythmic activity as in an effort to keep the students'
feet from freezing. Thus music, probably less for aesthetic purposes
and more for functional reasons, found its way into frontier country
schools from the earliest of times.
Before detailing various aspects of music as a curricular and
extracurricular activity in the mountain-plains country schools, it may
be appropriate to recognize that music served to enhance many community
activities in the schools as well. It is an established fact that
country schools were (and in some cases still arc) the community centers
of their time; and many of the activities carried on as a part of this
function involved, if not featured, music.
3
Country school community centers provided the setting for meetings
(which often were introduced with a patriotic song, or had a musical
intermission by a school performing group); talks, lectures speeches
(which programs also were often introduced or interspersed with music);
picnics (with sing-alongs and other musical entertainments); box socials
and cakewalks (wherein a musical game determined who got what food--and
partner); patriotic celebrations (often involving appropriatel3, patrio-
tic songs, and combining several of the aforementioned activities);
worship and revival services, plays, dramas (all of which could involve
appropriate music); dances (wherein folk and ethnic musical styles often
domilated); and a variety of other activities, not the least of which
were musical concerts themselves. This last category, like some of the
aforementioned, might involve noted artists such as Jenny Lind travel-
ling the concert circuit under the auspices of P.T. Barnum, or more
commonly, local talent.
Obviously, such activities involved various segments, and often all
of the community. In the following sections the focus will return to
the more scholastic aspects of music in the country schools. These will
include consideration of the roles of teachers and students in the
instructional process; the matter of instrunental music; technology in
the form of the grammophone, victrola, radio, etc; and finally the
matter of music texts and the all important song literature employed in
the schools. This last area will lead to Part II and a formal-
functional analysis of a sampling of songs used in the country schools.
Teachers tended to play, sing, and /or teach music according to
their individual abilities. As early as the 1860's teachers' institutes
encouraged special attention "to the science of music" (The Kansas
4
Educational Journal, Vol. 6, Oct. 1869, page 138). Singing as a part of
daily opening exercises was so common as to be virtually a standard part
of tne curriculum. However, beyond that point, the quantity and quality
of music activity in the schools varied a great deal--mostly with the
abilities of the teacher.
Prior to the second or third decade of the twentieth century, very
few teacher preparation programs gave much if any attention to music
education. If the teacher had not developed skills or taken lessons on
his or her own, he or she simply would not have much to offer the stu-
dents in the way of music instruction. At times, however, such circum-
stances were alleviated by the contributions of musically experienced
people in the community. Occasionally even an older student, possibly
someone who had had the opportunity to take some lessons from a "pro-
fessor" (private music teacher), would assume responsibility for some
music activities in the school.
By the 1920's there are accounts of music specialists serving the
rural schools of a country. In many cases each school was visited only
once or twice a month, during which time some intensive instruction took
place, and plans for follow-up instruction were made with the local
teacher. In one instance it was reported that the circuit riding music
teacher travelled by horseback; and in another case, the teacher went
over hill and dale, in sun and gale, via her bicycle. Travelling music.
specialists became more common toward the middle of the twentieth cen-
tury. Specialists aside, one county superintendent reported favoring
teachers who possessed some music competencies in the hiring process for
rural schools. Others encouraged thier teachers to take a general music
methods course.
While most of the early music instruction centered on vocal and
rhythmic activities, instrumental groups soon sprang up and were incor-
porated into school programs. At times musically experienced country
school teachers also taught private lessons, or a student learned from
dad, using his fiddle, from mom, from the church organist, or from a
"professor" if such a person was available and affordable. In any
event, enterprising teachers would help the instrumentally experienced
young people it the schools band together into performing groups. These
often were called orchestras, even if they had only one orchestral
string instrument or only a guitar or mandolin. If there were no
strings of any kind, only winds and percussion, they were called bands,
even if membership numbered only four or five.
Late in the first quarter of the twentieth century there are re-
ports of schools combining their bands to form larger groups for more
exciting musical activities and events. In the second quarter of the-
century there are reports of accordion bands; and apparently tonette
ea:embles and rhythm bands were quite popular at this time as well, when
teachers felt able to organize them. Eventually those districts that
could afford music specialists had some more formal instruction in
instrumental music; however, v cal music remained the backbone of the
general music program. Some s ols even produced operettas on a yearly
basis, and many participated in massed song festivals.
Primary accompanying instruments for music activities in the rural
schools were organs and pianos. From what can be gather'd concerning
relative use, it appears that organs competed effectively with pianos
and might actually have been more common in the nineteenth century
(pianos having only been devised in the late eighteenth century). One
6
interviewee mentioned a story about how a giant box social provided the
entire financing for the purchase of an organ for the school. However,
of Vile twentieth century the heavier, metal framed
the piano had completed the trek across the American
the end of the first quarter of the century most of the
country schools hid such an instrument. Even player pianos were found
with the coming
monster known as
Frontier, and by
in some school/Settings, so skilled or not, people could put on, pump
out and sing a'ong with the rolls of the latest popular music.
The next technological advance to influence music education in the
country schools of the frontier was the grammaphone-record player. Many
interviewees report the use of Sousa marches which were early "hit-
parade" favorites around the turn of the century. As mentioned earlier,
these were used on cold days when teachers had children march around the
room to warm their half-frozen feet; but also when children were rest-
less during stormy weather and needed physical activity; to teach
"beats" and rhythms, and just for fun listening. Soon, in addition to
marches and other popular forms, classical music recordings became
available. The "classics" provided the basis for music appreciation
classes in the rural schools. They also provided a basis for the "music
memory" contests which became popular later on, and in which many rural
school children participated.
Radio was readily adapted to music instruction for country schools.
Shortly after network radio bacame effective in the 1920's, music educa-
tion programs were being broadcast to rural areas. Orien Dailey of
Wichita, Kansas was a pioneer in the desiLlopment of such prugrams. They
were broadcast once or several times a week and involved listening to
music, singing along, learning the names of notes, lines and spaces,
scales, etc. In time, supplementary music booklets were available for
use by the teachers and students during and between broadcasts. Thus
the expertise of a master music teacher became available to many rural
schools via the airwaves.
Of the various types of music literature mentioned in the foregoing
sections, the most common is song literature. The Lamar, Colorado Arbor
Day Program of April 16, 1892 included the following: "Marching Through
Georgia," ."Columbia, Gem of the Ocean," "Rally Round the Flag," and
"Yankee Boy." It was mentioned in various interviews that in many
schools it was not unusual to spend at least 15 minutes a day singing
from song books. Children memorized patriotic songs, rounds, folk and
country tunes, as well as "silly songs" and popular ballads. Immigrant
children sang the same music as native children in the schools. Even
children of parents who generally spoke a language other than English
learned the English songs, and no rep.rts indicated that pupils learned
songs in other languages. This would probably have been regarded as
contrary to the principles of the great "melting pot." This does not
mean that songs of ethnic heritage were not learned and transmitted. It
is just that they generally were not employed as a part of school activi-
ties (except possibly it a most solidly ethnic community). Such music
was generally learned in the home, or at dances and other social func-
tions.
[It might be interesting to note that the music scores and song
books used in the Mountain-Plains region employed round notes from the
very first, rather than shape notes. This is of significance because
shape notes were largely a southern tradition, whereas round notes were
espoused by Lowell Mason of Boston music education fame. The general
o
8
influence of shape notes went no further north or west than Missouri, a
slave state at the time. It could not penetrate Kansas, in part due to
the Boston influence of the New England Immigrant Aid Society which sent
settlers and helped bring the territory into the Union as a free state.]
Several specific song titles mentioned by interviewees include:
"What a Friend We Nave in Jesus" (and many other religious hymn-tunes,
particularly in the early days); "America;" "Home Sweet Home;" "Stars
and Stripes Forever" (words were sung to the trio); "Red River Valley;"
"Jaunita;" "sop Goes the Weasel;" "Row, Row, Row Your Boat;" "It's a
Long Way to Tipperary:" "You're a Grand Old Flag;" "Blest be the Tie
that Binds;" "Battle Hymn of the Republic;" and "America the Beautiful."
Such songs functioned in many ways, but several of the most signif-
icant functons in the frontier school setting were the Americanization
(enculturation) of ethnic groups, the engendering of the American spir-
it, the uniting of a multi-cultural natipn, and the enhancement of
patriotism. Other common topics and functions were the transmission of
religious-spiritual attitudes and beliefs, personal values, interper-
sonal relationships, as well as feelings for the beauties of the land
and the wonders of nature.
Part II following will examine these functions via an analysis of
the verbal and musical content of a sampling of some older and more
obscure (to us, today) songs. These have been selected from music books
which were in use during the latter half of the ninteenth century and
the early part of the twentieth century--as the frontier moved through
the Mountain-Plains region.
I
9
Part II
Songs in the Frontier Schools: A Sampling and Analysis
Music books, primarily song books, followed the frontier schools
westward. The following resolution was passed at the Coffey County,
Kansas Teachers' Institute in 1869:
Resolved, that we give special attention, so far aspracticable, to the science of music--to become familiar withits principles ourselves, and to teach the same in our commonschools--and further, that we recommend to our teachers theuse of "Blackman's Graded School Songs" in the schools of this
county. (The Kansas Education Journal, Vol. 6, Oct. 1869, p.
138)
There is substantial reason to believe that the texts from which
examples were taken were actually used in the schools of the region be-
cause (a) the aforementioned songs a.._ in them; and (b) they were found
)
and collected in the region. Th texts currently reside in the Kansas
Historical Collection in Music ducation, University of Kansas, Law-
rence. The first several songs have been selected for analysis by
virtue of the fact that they were considered for use in the production
of the film which is a part of the Country Schools Legacy project, and
this should make them of some special interest.
Part II concludes with listings of song titles which serve to
expand on the song analyses and provide a broader sampling of the types
of song topics which were employed in the early music texts of the
contry schools.
10
"Morning Song"
McLoughlin, J.M., and Gilchrist, W.W., The New EducationalMusic Course.(Teachers' Edition). Boston: Ginn & Company,1904, p. 23.
Text
4
The lyrics and thee_ simple rhyming scheme are very orderly, re-
flecting the theme of the song: Nature's simple, revitalizing bea4,ies
and order are reflected the dawning of each new day. The text is a
very positive one ("We come...With faces blithe and gay,"); and extolls
the glories of the natural environment.
Music
The musical form is as regular and orderly as the text, being
strictly comprised of six two-measure phrases. These pair off nicely
into three sets, providing a straight-forward ABC form. The harmony is
based on simple I,IV,V chords and the melody echoes this simplicity by
adhering almost exclusively to the natural chord (arpeggio) and scale
tones. Ikhythmi.cally the piece reflects the 'same principles, having a
perfectly symetrical AABBAA rhythmic format.
Functions*
Communication: The song espouses a love of nautre and the beauty of the
natural environment and order of things.
Emotional Expression: The song is a hiely positive expression about
life, the renewal of life, and,6e-place of existence.
Enforcing conformity to social norms: The work (as well as play) eti.c
is espoused in a highly positive manner.
Contribution to the integration of society: The song extolls the abun-
dance and beauties of the land which are common bonds for the
various ethnic groups which share them.
11
Aesthetic Engjoyment: The words and music reflect a valuing for the
orderly progression of simple beauties, and should stimulate some
enjoyment and appreciation particularly for those of a "classical"
nature.
Note: In the rilm, this piece could function as background for the
opening scene wherein youngsters are making their way to school in
the early morning.
*Derived from Alan P. Merriam, The Anthropology of Music. Northwestern
Unversity Press, 1964, pp. 222-227.
.111
TEACHERS' EDITION FOR ELEMENTARY GRADES
Anon% mous
Allegro 71Sal
.;1-/
XI X
MORNING SONG
IM tow
23
French
1A 9i. Al!2. We
r .,, }y
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4 --------A - X
--LT, ,_il) _2_,
. ,____ __, -i4p-- .... 0 L 4 " -= ____ -rIP;la - ture hails the day As dark __-__tiess fades a way, The
come to work and play, 1,11;th fa - ces blithe and gay, Each-_-_-
1
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-i .- , *..-' -1-,11,-- I- a I0 0-- 40 t- a--.--sr
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a --,-- a.---t- ..-- A: --- -I - --: -,a t--___-_-=±- ;
birds, the tiow'rs, the mur-m'ring breeze That stirs to mu -,ic all the trees, Nowmorn - mg is our world made new, Like thirst - y tiow'rs re - freshed with dew, We
LIP
1
E4,--_ --
a 1
ter"Ts
Alt .--FP
greet the wel come day, Now greet the wel - come day.greet the wel - come day, We greet the wel - come day.
sr
I-
1A- 0
13
"Gentle Rain"
J. R, Murray
Blackman, 0., and Whittemore, EE, and Blackman; 0., Graded Singers:
Book Three.* Cincinnati: John Church Co., 1973, p. 71.
Text
Each of the two verses of this brief but cheerful song has six
phrases, with regul=ar accent points in each phrase. The rhyming scheme
is a simple ABAACC. Frontier-agrarian values abound as the gentle rain
is called upon to "make our meadows bright," bless the fields, and cool
the earth. The spiritual element is acknowledged with rain equated to a
Gift of our dear Father's love."
Music
The stylistic marking for this song is "cheerfully," and the melody
gives a "running" feeling with two notes per beat most of the time. The
lighthearted effect is enhanted by several "skipping" figures (dotted
eight-sixteenth notes). The melodic form is a simple ABC, or could even
be construed as ABA-variation. This little tune is treated in a more
interesting harmonic manner than most simple songs. The first and third
sections have three part harmony (though the entire song could be done
in unison). The second an third lines move together and at times quite
independently from the meludy. The second section has the melody singing
two measures alone, echoed by the other voices in unison; Musically the
harmonic aspect is the most Interesting factor, and includes a super-
tonic chord as well as secondary dominants. The high points or climax
of the song occurs at the end of the third last measure with a fermata
(hold) on the key words "love" and "shower."
*For "Grammar, Intermediate for District Schools."
14
Functions
Emotional Expression: The song engenders happiness and a positive,
thankful attitude.
Entertainment and Aesthetic Enjoyment: The harmonic and rhythmic
aspects' lend life and musical interest to the song.
Communication: The song clearly expresses an appreciation for
rain, a high regard for nature in general, and a thankful
attitude toward God.
Contribution to the Continuity of Culture and the Integration of
Society: The song expresses common values in terms of what
was important in the rural frontier society--good rain, a
cheerful, positive attitude toward life and nature, and a
thankful reliance on God.
th.
GRADED SINGERS.Book III.
(Fio Bb and Bb to F)MODULA MON.
3
-
itoderato.SCALE EXERCISE. xi
GENTLE RAIN.Cheerfitlly.
/ L' La -
t Corn ing down in cool - ing shower, Gen - tie rain, Gen - tie rain ;2. Come and make our meadows bright, Gen - tie rain. Gen, - tic rain ;
- N
-411.
mol hy 3 R Ni, **v
43,
.
Bless - in bird, and field, and flo wer. Bless - ing bird. and field, and flower.Hearts are glad for thee to - night, Hearts are glad for thee to - night,
411 el_%,
or,
1
,17.0i
4
sr\
a aGill of -Air dear Fa - titer's love, Come with bless - in from a - bove.Coin - ma down in cool - ing shower. Blessing bird, and fie!d. and flower.
4.
a- - 2%
4d S. 716C4 1P. ir ir 0-
1A L.)
16
"Words of Welcome"
Words: Mrs. H.F. Osborne; Music, Unknown
Backman, 0., and Whittemore, E.E., Graded Singers: Book One.* Cincin-
nati: The John Church Cr., Approximately 1873, p. 65.
Text
The text is an expression of a group of children's welcome to
family and friends on the occasion of a school program. A number of
values and attitudes are conveyed, e.g., "Kind friends and dear par-
ents;" "good lessons;" "make us submissive and gentle, and kind;" "for
learning, we know, is more precious than gold;" "and thus lay up trea-
sures in mansions above;" etc. The song also begs the audiences' indul-
gence: "Remember we are all quite young; You'll pardon our blunders."
The meter is extremely steady and the rhyming scheme is a simple
AABBCCDD for each of the two verses.
Music
The melodic line is simple and clear, so as to enhance but not
obscure the simple but important communication of the words. The piece
is in three-quarter time with each phrase beginning on the third count
of a measure. Virtually everything moves at a steady quarter note pace
except that every phrase ending is a half note. The melodic structure
might be termed A,B,A,C,B (var.), B (var.), A (var.), D, but the real
unifying element is the continual repetition of 10 quarter notes follow-
ed by a half note. The harmony is not provided in this test, but very
obviously can be accounted for by basic I, IV, V chords--except for the
cadence half way through: In the fourth phrase there is a modulation,
*For "Primary Schools and Juvenile Classes."
17
involving a secondary dominant, to the dominant. This is the only point
of any musical sophistication in the piece, and lends a nice bit of
variety. The original key returns immediately at the beginning of the
next phrase via a phrase modulation.
. Functions
Emotional Expression: The song expresses earnest good wishes and
fond good wishes, love and friendship.
Entertainment: It is an entertaining way to introduce a school
program and provide basic information.
Communication: Introductory remarks and cautions, goals ani good
will are all being communicated as noted in the preceding
"Text" section.
Physical Response: This is not a major function, but the repeti-
tive, basic three-quarter rhythm will most likely cause a bit
of toe tapping or rhythmic body movement.
Enforcing Conformity to Social. Norms: As cited in the earlier
"Text" section, many values and virtues of the society are
recounted (including the values of education), and by being
set to music, they tend to become more memorable and ingrained
as well as more acceptable (according to recent research).
Validation of Social Institutions (the School); Contribution to
Continuity and Stability of Culture; and Contribution to the Inte-
gration of Society are important and all operative functions too,
by virtue of the above.
S. Book 1.
I.
P
GRADED SINGERS. Efook I. 65
1(mi F os,,,,. ()RDS OF WELCOME.by .4-0 -IP 411P-4-----
tt. Kind friend- and dear parenN a e a etc me 't nu here, ['a nut nee, idea,atu2 11 e eek your ap.prnv al. with he trty gaud ill, And KC hpe the
lit
t..ho norm, and leak:het%lei vinc oar eacha r%
11P.--IIP -O.-
3 dear 11` duuk tin
in - ittli May nako tu. 111(1
w-Illicit we e learned, Awl ,ttr le., our nen rtc It I% a been tut tiedgentle, and kind, A, well a.. Lit-light-en Ind -trengtheit the mind
4.-- ist".41P-41::= ;11P-77":2111
Mir hope yott II irtliolthet are pi,r( v Ittz, Ind alien Ike
For learning, .ae. know, 1% more t'rectme, flirt', gdrl. The worth 1 rite
___41= 7= 0F.- 4- --_
1.- a it ed nd 0111'4. YOU 'I pardon utir chit t
tic Cr can he told V e :hen, Or t trI tie, mil
.11111111.-
.11 .ter - .1tC. M .1V CV en extend 1,, tie Pro..tenthon - or ind 1,,.e, And ,hus .ay .ip ;reaaurc, in nian-tuus above.
....mALISIOLfivr.1111M.
19
"The School Bell"
Words: Mrs. F.A. SAfford; Music: H.R. Palmer
Whittemore, E.E., and Blackman, A., Graded Singers: Book Three.* Cin-
cinnati: John Church Cr., 1973, p. 76.
Text
The four lines of each of the two verses are based on the identical
accent pattern: (rest) The rhyming scheme is a simi-
larly regular and simple AAEB. In this sense the form and the content
of the verses is very consistent and mutually reinforcing, because the
message is a simple, positive and forthright sermon on the pleasures of
the work ethic, e.g., it is good to begin on time; to please the teach-
er; the happiness of being praised; leave play 'til work is done (or
school is over); don't waste time; keep busy.
Music
The four very regular antecedent and consequent phrases of the song
are arranged it a simple, straight forward chorale style. The unim-
posing solid melody with its very typical AABA form enhances but does
not distract from the message of the words. The harmony, though in only
three parts, is in typical "Bach chorale style," and the steadily moving
quarter note rhythm is enlivened by passing eighth notes every couple of
measures, in the typical Baroque manner.
Functions
Communication: The most obviouL, function of this song is didactic.
It is meant to teach the principles of what is commonly termed
"the Protestant work ethic." The pleasant musical setting is
meant to enhance teceptivity to the message as well as to
enhance memory of it.
*For "Grammar, Intermediate, or District Schools."
20
Enforcing Conformity to Social Norms; and Contribution to the
Integration of Society: .The work ethic was vital to survival
on the frontier; and persons will be happy and welcome in the
community if they are good contributors.
Contribution to Continuity and Stability of Culture: The song
makes clear that 411 should contribute their efforts to keep
the community vital, stable and a happy place to be.
75 GRADED SINGERS.Book III.
2
111,
THE Sc. II ix) I, BELL.s II PALmts-
fivi,to.
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Wbe^,e'er toe mer ry bed out, Oh ' let us haste - wayso s,nen the mer - ry bell rings out, Lease play till school ,s o'er,
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How pleas ant to be ginNot aurrt - ber one a - mong
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in tune, The du ties of the day,the group, Which waits out-side the door,
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For hap - pier far ,ur hearts beat, Our teachers smile to see ;
For inn ments lost can ne'er be found, No hour should ,sast - ed be ;
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There's time for work and pleas - ure too, \ mi l)11,-,s we must be
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BEST COPY MA
22
"Try, ry Again"
George A. Veazie
McLaughlin, J.M., and Gilchrist, W.W., The New Educational Music Course.
(Teachers' Edition). Boston: Ginn & Company, 1904, pp. 98-99.
Text 411
Both the first section rhyming scheme of AABB and the second sec-
tions' AAABBB are interspersed with repetitions of the phrase "Try
again." The message is straight forward: All should heed that regard-
less of the difficulty of the task, if not successful at first, keep
trying; perserverance; it is no disgrace to fail as long as you try
again.
Music
The melody is as simple and straight forward as the message:MI
Virtually all movement is stepwise, and straight quarter notes are the
basis for the rhythmic movemedt. In fact, the end of the third line is
a simple descending scale. The harmony too is basically I, IV, V,
interspersed with an occasional diminished chord, ninth chord and secon-
dary dominant. This all serves to set the mood for and point up the
simplicity of the repeated phrase "Try Again!"
Functions lik
Communication: The didactic function is basic here. Teaching,
communicating the message that perserverence is of great value
is the primary purpose of the song.
Symbolic Representation is employed by example: "Try again" is
repeated again and again.
Enforcing Conformity to Social Norms: Trying and persevering are
the values or norms which were important on the frontier and
.._.
this song drives the message home through repetition.
23
Contributions to the Continuity and Stability of Culture and to the
Integration of Society: Willingness to try to accomplish, and
to persevere at difficult tasks was essential to stable exis-
tance in frontier societies. The song persuades toward such
stability, and stresses that all should heed--so the group may
be unified and integrated in its social behavior.
Note: This might provide some useful background in the film section oa
ethnic groups.
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25
"Thirteen Were Saved"
or "Nebraska's Fearless Maid"
(Song of the Great Blizzard 1888)
Words and Music by Wm. Vincent
Published as Sheet Music by Lyon & Healy, Chicago, 1888
The text tells of an incident which took place in January of 1888
during a blizzard which wracked the Northwest and central region of the
United States. As reported in the Omaha Special, Miss Minnie Freeman,
the "plucky little teacher" at Mina Valley, Nebraska, saved her 13
pupils by leading them through the blizzard to a house three-quarters of
a mile away--after the door, windows and roof of the school were blown
away. She did this through the device of tying the children into a line
with a length of twine, thus keeping them from getting lost in the
blinding snow. The story is told in verse having the simple, basic AABB
rhyming scheme. The repair is sung twice between each of the three
verses, and at the cmd.
Music
The melodic format of the musical setting follows on ABAC form for
the verse and an ABCD phrase structure for the refrain (wherein C is
based simply on an ascending scale and D on the descending scale). The
harmony remains very simply I, IV, V oriented with the main point of
variety being a modulation to the relative minor (F major to D minor)
for the second part of the verse. The actual unifying factor (in light
of the lack of melolic repetition other than repeats themselves) is the
dotted eighth-sixteenth note pattern which permeates the entire piece.
This pattern is generally associated with agitation, excitement and
26
lively motion. Therefore, it is particularly well suited as an accom-
paniment to the exciting tale of the "plucky maid" and her class.
Function
Communication: A primary use for this music is to tell and pre-
serve the story of the fearless maid. The song is also em-
ployed to communicate the general concept that frontier teach-
er. had to be brave and resourceful people.
Emotional Expression: The song is used to convey the excitement of
the described situation as well as the admiration for its
subjects.
Entertainment: Inasmuch as the song involves a tale of danger and
adventure, it served the function of entertaining many people,
particularly at the time of the incident.
Validation of Social Institutions: In its treatment of the fron-
tier school teacher, the song validates the work of such
persons and the school in society.
Note: This might provide some useful background music in film
sections dealing with winter and hardship on the frontier.
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c iThgn, . wait >.--_,Ing.-_, shiv -1ripg :"-by.- .-,thetire, :.. A_ -.>
t ' Th-e4--::: sow7irew-deep. -tJae-' path; 7.-was- lost, 0,--x'., .-.. '
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Ina den from the laud.seape then They knew notwhere to go;.... . O...
with a -crash the house gave wayi,nd they had no, :, de-fetme;
mee ran out Come wil come on !- Cheer up 'tis not too late,"
,crin4t1 a-moo; the glorious deetls,.Sha.11 live her cher7ish'd name;-, : -_ 1 : : ...'
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car - ried in : her gen- tie- arms, .1.11.cheeredgrat - i -:tnde. they kneel in prayer, -rp-_-:,
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r.-;scored, the sun and, sky,prayed to God for aid,-lead theta brave-1i out, ,..farm - or apes the door,
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Thwo flashed the joy - ous news o'er cit - y town and glade. Brave - ly in - to the storm, Sheen
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BEST COPY AVALLA
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- 1..4
30
"Faith, Hope and Love"
Ch. H. Rinck
McLaughlin, J.M., and Gilchrist, W.W., The New Educational Music Course
(Teachers' Edition). Boston: Ginn & Company, 1904, p. 86.
Text
The text of this song is formulated in the traditional hymn for
worship style, replete with words such as "thee" "thou" and "thy." Each
of the three brief verses is very symmetrically arranged, with an AAAA
rhyming scheme. Each verse is a clarification of and elaboration on its
inital word (faith, hope, and charity). The text is a strong express-
ion of some of the most basic of Christian tenets. (Many hymns and
chorales are found in song books up to the turn of the century. Their
quantity tends to fall off after that.)
Music
The musical form is that of a simple but sturdy chorale. As such
it serves to reflect the basic tenets of the text, and the essential
lifestyle of the frontier and the people who helped America grow. The
simplicity and sturdiness is reinforced in the melody which is comprised
of four two-bar phrases, each having the same rhythmic scheme (six
quarter notes and a half note) and each concluding with a descending
cadence. Such repetition adds to the simple, straight forward and study
effect of "truth."
Functions
Communication: The song tends to illuminate the basic meanings of
faith, hope, and charity, and as such serves a didactic func-
tion. There is ample research evidence that facts and im-
pressions set to congruent music tend to be remembered more
effectively than verbal communication alone.
31
Emotional expression: While information is imparted feelings are
influenced as well ("deep darkness," "dark dangers," and "hold
us long").
Symbolic representation: symbolic phrases such as "burning
bright," "life's fleeting race," and "our anchor strong" are
effectively reinforced in the musical setting. This is espec-
ially true of the strong anchor symbol.
Validation of social institution and religious rituals: The tradi-
tional choral style of the music and the religious connota-
tions of the text serve this function admirably.
Contribution to the continuity and stability of culture: Tenets of
the common Christian ethic were basic to American culture and
the "melting pot" processing of immigrants.
Aesthetic Enjoyment: Both music and words provide a simple but
strong and somewhat feelingful formal statementone which
could be appreciated by anyone on the classical to mildly
romantic part of the aesthetic values continuum.
Note: In the film this piece could function as background for a court-
ing scene involving attendant.e of church services--in early days
the only allowable occasions for dates according to some community
rules.
NEW EDUCATIONAL MUSIC COURSE
FAITH, HOPE AND LOVESuggested 'Iv ti!
German of ',11,1 it N R D. I nait/tle Ws:in/1'10
94 14 21 ...._ '________, -- rt----1
4 1-____ _. __ __ t r 0 a
I. Faith I thou art our guid ing light. 'Mid deep dark-nessz. Hope ' thou art our an - chor strong, \t'hen dark dangers3 Lose ' thou art God's smil- ing face, Pres ent here. in
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of the night Let us keep thee e'er in sight.round Is throng Hold us sure lv, hold us long,
ev ry place May we ev - er own the grace.
Burn -mg es, er. burn - ing bright.Mid the waves of oe and wrong.
While we run life s fleet - mg race,
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NEW YEAR'S DAYS
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33
"Death of Lincoln"
Words: Pauliaa, Melody: Scotch Tune
Blackman, 0., and Whittemore, E.E., Graded Singers: Book One.* Cincin-
nati: The John Church Co., approximately 1873, p. 67.
Text
The words employed in the text are of the old English type, or
might still be found in some religious verses: thou, thee, thy, weal,
woe, etc. This gives a hallowed flavor to the lyrics which honor Lin-
coln or the "nation's father, friend;" "strong in word, and deed, and
prayer," "whc didst God's chosen lead," and "hast the people freed."
The form of the text is classically symmetrical and simple. Each of the
three verses has eight balanced phrases, with a rhyming scheme of
AAABCCCB.
Music
The melody is as classically symmetrical as the text: There are
three measures of half-quarter followed by a dotted half, and this
pattern repeats twice before the fourth varies to two measures of half-
quarter and two of dotted half. The second half of the melody Is iden-
tical to the first half described above. The form, in two phrase units,
is A,B,A (transposed), B. The ultimate unifying element is the simple
half-quarter rhythm which permeates the tune. No harmony is provided,
but the tune could easily be accommodated by simple I, IV, V chords.
*For "Primary Schools and Juvenile Classes."
34
Functions
Emotional Expression: "We bend O'er they grave-sod;" Griefs that
darkly swell;" "the martyred dead;" etc.
Communication: The song tells the story of Lincoln's heroism and
death that all may share in its meaning.
Symbolic Representation: Word meanings aside, the structure of the
text and music, in their classical formality, symbolically
enshrine Lincoln in a classical setting not unlike that of the
Lincoln Memorial in Washington.
Enforcing Conformity to Social Norms: The song strongly promotes
the worth and importance of freedom.
Contribution to the Integration of Society: The song stresses the
fact that Lincoln freed people and "didn't God's chosen lead
thru 'a sea, ah! red indeed! Some Southern people still
resist the idea that the Union supporters were God's chosen,
and there is little doubt the song found more widespead favor
in the northern states than the Southern States. However, it
certainly functio,ld to integrate immigrants, many of whom
were escaping oppression in their homelands, into the American
value system, enculturating them with history and a hero.
Book I.
e, tnv hi rirt.tt, go Wheth-toining unheamt \\e
it. -to ten - del qtti, Each
r -Antic tt n tic
rhy-oelf on nature`tVith 'rust de - bght-fui
')\t E.
nil
itt my "lime Ind vox .errtefag me v.,. are pri-ivtd ed with
Ind iien t nit maks th +orris ingr tho .rit very mail
GRADED SINGERS. Book I.
Wrcit y Pro tiA
3
DEATH OF LINCOLN.
67
Scotch Ntlinttc
I liii ,
rbou cad it
tL
9 apt-fa -they, friend,friend, Vear by ye ir `Ii 0011411: tie bend
'-hchoc-en lent Tina a -ea, ' rcci in-deed
11 as, a - nay. Like i oy - ter day,
tit 4rave.5d, 'here to blend Criefs 'ha', daft :y s
THOU ho '13211 1co ?le teed, 1N, e bat, ht tit, in),
Wile?' the Ilwn ot peace was 4ralt, lnd h. snationi
.1) I te. 717g _
rieeri, Ind pravv, I itgh, et,
st -11 o butt -,ittt 'A Milt, ;Ht sctili of tliti et in. I it
iot i li iii tit tilor,c4 1;ratari of too. Rt. a I nt tar sol,re.
4041 1101 :11,.
Oh, 'bonIn III _ointni:, 'line A
hn., , fare h'cot 11, Lincoln. fare .lictSign Of martvpd
PR \ISI \VE'l I. CROWN: 71-4( MORN MC;
- do_ _
7 --I\\ tih priticit. n- II the inn., 11g. 1'0 1 1',11 ottf telt 't p,t 'IA:
2. With :VII 1 e rio% tile In, n ttit!.. IS 'A h. t m ittett.ti tr ow, ft- tic:nr.
110-kpf`113 . 1 ii hi tit,l ry Sislekt ,t11 pr111, WV! II (I ..3N` 11fIrrk'N
Wel wi,f1, anti 2011411Cr 1-orthe tight , With t t t t i ,It l0, n the morning.
36
"For Absent Friends"
A. Mary A.B. Dobson
Ripley, F.H., and Tapper, T. Melodic Second Reader. New York: Ameri-
can Book Co., 1906, p. 128-129.
Text
The text is patterned in a clear and simple ABABCDCD rhyming
scheme. It expressed the feeling of and probably is included here
particularly for the benefit and understanding of immigrant members of
the community. Paraphrase: As evening comes out thoughts go to loved
ones on other shores in distant lands. Though it is not totally a song
of worship and supplication to God, it is for the most part so. Para-
phrase: They pray for us so you may keep us strong and true in our new
land, as we pray for them. 0 glorious shepherd of thy sheep, watch over
us all with everlasting love until we are reunited in peac. Thus
two-thirds of the text would be totally appropriate in a church hymnal.
Such expressions, along with church hymns themselves, were common up to
the publication of this book. They gradually became less common during
the ensuing years.
Music
Formally the song is in two parts. After a four meausre intro-
duction, the first part, structured AB, is set in a minor mode. A two
measure-interlude and the second part, structured CC., are set in the
relative major key. Harmonic interest is enlived uy several secondary
dominent and diminished seventh chords, as well as an occasional pedal-
paint. Rhythmically the tune moves at a moderate quarter and eight note
pace, with the predominant unifying pattern being two quarter notes, a
dotted quarter and an eighth note. The music is essentially in chorale
style, in keeping with the severent, hymn-like atmosphere of the text.
33
37
Functions
Emotional Expression: Love, longing and supplication are the
themes. Aesthetic Enjoyment: The text is poetic and the
music has some feelingful reinforcements for it--in addition
to some interesting formal and harmonic nuances.
Communication: The text communicates feelings for loved ones and
progress to God.
Conformity to social norms, and Validation of Religious Rituals are
functions which are operative inasmuchas, even when being
integrated into a new society, :t is proper to remember and
pray for your parents and friends who have been left behind- -
and the hymn-like setting of both the text and chorale help to
validate the religious aspect of such behavior.
Contribution to continuity, stability and integration of the soci-
ety are served for the same reasons. The stabilizating-
integration function is effective because the song provides an
acceptable outlet and catharsis for the loneliness and/or
longing which were shared by many in the urban immigrant as
well as the rural frontier communities.
(13
5
FOR ABSENT FRIENDS.
1Ni1
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N I
4
O 0N I
A MAR% A R DolisoN.Softly.
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oth el seas toll deep and bhie, They, may tug, lilt lip
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39
"Fatherland"
Franz Abt.
Blackman, 0., and Whittemore, E.E. Graded Singers: Book Four.* Cin-
cinnati: John Church & Co., 1873, p. 47.
Text
The text tells of noble pride in the homeland, and also that "'Tis
from noble deeds of duty that a nation's blessing comes," so let us keep
our vows of patriotism in time when saftey fades and sorrow looms. "all
our success comes from Heaven....Let thine arm shield from harm, Lord,
our Oftherland." The atmosphere is that of a hymn of praise, resolu-
tion to duty, and supplication to God. The "thee's" and "thy's" rein-
force the religious feeling, and apparently at this time in America's
history, there was no problem in publishing and using song texts which
united feelings of God and country in a very spiritual manner. The
rhyming scheme is a well-balanced and straight forward AABCBCDD(DD).
Music
The musical setting is in a hymn-chorale style which serves to
enhance the reverent atmosphere of the text. The four part harmony is
quite basic within the chorale tradition, and replete with many moving
voices, not unlike the Bach chorale style. The melodic format is essen-
tially ABBCC, and the unifying, recurring rhythmic figure is dotted
quarter note, eighth note,- half note (or quarter note-quarter rest or
note in place of the half note).
*For "High Schools, Conventions, Choirs and All Classes and Choruses of
Male and Female Voices Combined."
3
40
Functions
Emotional Expression: Patriotism and praise for the homeland are
intermingled with pleas of supplication to God for its preserva-
tion.
Aesthetic Enjoyment: Repetitive factors in the text and setting
along with moving voices in the harmonization are probably the
most functional aesthetic aspects for most hearers.
Communi-:ation: The song communicates ideas and feelings of patriot-
ism and prayer.
Conformity to Social Norms: The soag reminds people of duties to
the fatherland, as well as the pride and joys which spring
from loya'ay to it.
Validations of Social Institutions and Religious Rituals are served
ty the formal, reverent and generally appealing text and music
of the song.
Continuity stability and integration of the society are all served
as everyone's benefits and duties are extolled.
Key of F,
i0
to
'?
GRADED SINGERS.Book IV. 47
FATHERLAND, Flt..t Aør
___0....7,:co__-*:_o_.._ N_____. _ l- do-
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2 raIerlind! Fatherland' Re.i,t in Ciod , r.ght haw(' T:s on path; of peaceful beauty That a peoples
! r -....,;__,____.-; or-, ......-______ f- _-.1___.'"2-__- -_--,_t_a-_-7-.:-_!_-: ,___t ,___..,
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3 Fa. ner,ard ' I ' Rest in ( ioil s ight,liand in jos I'd moment. sisen, Let us keep hen
-fdp-- 9 0-
verse.4 i 0-2.7,--V_ K 0=.1_ 41- -
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ac 2 It', Stun Vi .1e:1 our :warts th are claiming, Warm nth noble pimle the% 41.,w I et .mine arm
ALCa L , if-1F-I-# NO,
from ,io'ile deco!. rf du-:v Phut imon's mlessing comei. Let thine arm
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:--
Let thine a.ru ,hteld from harm I. rd, our Fatherland '.
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... awmoome-,--o,--.,_-or....miroor alM=3
4A Li BEST COPY AVAILABLE
42
SELECTED BIBLIOGRAPHY
Allen, C.G., and Seward, T.F., The Vineyard of Song. Chicago: Biglow &
Ma'', 1875.
Barber, M.A., The Schoolhouse at Prairie View. Lawrence: University of
Kansas Press, 1953.
Barry, Louise M. "Kansas Before 1854: A Revised Annals, Part 1."
Kansas Historical Quarterly 33 (Autumn 1967) pp. 330-335.
Birge, E.B., History of Public School Music in the United States. Bryn
Mawr Pennsylvania: Oliver Ditson Company, 1928.
Blackman, 0., Graded Songs for Day Schools. New York: the John ChurchCompany, 1897.
Blackman, and Whittemore, E.E., Graded Singers Book One. Cincin-
aati, Ohio: The John Church Co., Approximately 1873.
Blackman, 0., and Whittemore,-E.E., Graded Singers.nati, Ohio: The John Church Co., 1873.
Blackman, 0., and Whittemore, E.E., Graded Singers.aati, Ohio: The John Church Co., 1873.
Blackman, 0., and Whittemore, E.E., Graded Singers.nati, Ohio: The John Church Co., 1873.
Book Two. Cincin-
Book Three. Cincin-
Book Four. Cincin-
Bliss, Islely, and Richards, W.M., The Story of Kansas. Topeka: The
State of Kansas, 1953 (see page 181). 1873.
Bourne, E., Women in Levis'. Tucson: University of Arizona Press,1967.
Britton, A.P., "Music in Early American Public EduCation: A Historical
Critique," in Basic Concepts in Music Education, Part 1, the 57th
Yearbook
Brown, C., "Musical
of the NSSE, ed. Nelson B. Henry, Chicago: NSSE,
Instruction in Schools" The Kansas Education
1958.
Jour-
nal, Vol. 6, Oct. 1869, p. 137, (KSTA minutes, September 9, 1869).
Cockrell, M., The Revolt of Sarah Perkins, New York, David McKay, 1965.
Damrosch, F., Popular Method of Sight - Singing. New York: G. Schirmer,
1894.
Driesbach, C. "Rudiments of Vocal Music" The Kansas Education Journal,
Vol 6, Oct. 1869, p. 137, (KSTA minutes, September 8, 1869).
Ewart, John L., "Music Education in Mennonite Academies." Masters
thesis, Kansas State Teachers College, Emporia, 1951 (now Emporia
State University).
4'It/
Freeman, R.S., Yesterday's Schools; a
Today. Watkins Glenn, N.Y., Century
Gary, Charles L., Vignettes of MusicD.C.: MENC, 1964.
Looking Glass for Teachers ofHouse, 1962.
Education History. Washington,
Hayden, A.S., The Sacred Melodeon. Cincinnati: Moore, Wilstack, Keys,
and Co., 1856.
Hitchcock, H. Wiley, Music in the United States: A Historical Intro-duction. Englewood Cliffs, New Jersey: Prentice - Hall, Inc.
1969.
Kansas State Department of Public Instruction, Report of the Superin-tendent, Topeka: 1894, page 166.
Lowens, Irving, Music and Musicians in Early America. New York: W.W.
Norton and Company, Inc. 19F4.
Lutes, D. J., County Schoolma'am, Boston: Little, Brown & Co. 1941.
McLaughlin, J.M., and Gilchrest, W.W., The New Educational Music Course.Boston:, Ginn & Company, 1904.
Mechem, Kirche, "Home on the Range." Kansas Historical Quarterly 17
(November 1949): 313-339.
Merriam, A.P., The Anthropology of Music. Northwestern University Press,
1964.
Oursler, Robert D., "A History of Public School Music in Kansas." Masters
Thesis, Northwestern University, 1954.
Palmer, Harold G., Instrumental Music in Western Kansas Public Schools.Topeka, Kansas: The State Printer, 1951.
Reinbach, Edna, Music and Musicians in Kansas. Topeka, Kansas: The
State of Kansas, 1930.
Ripley, F.H., and Tappet, T., Melodic Second Reader. New York: American
Book Company, 1906.
Root, G.F., The Forest Choir. Chicago: Root and Cady, 1867.
Root, G.F., The Silver Lute. Chicago: Root and Cady, 1862.
Schatzmann, I.E., The Country School at
Ill., The University of Chicago Press,
Tellstrom, A. Theodore, Music in AmericanRinehart and Winston, Inc., 1971.
Home and Abroad. Chicago,
1942.
Education. New York: Holt,
Vincent, Leopold, Ed. The Alliance and Labor Songster. Indianapolis,
Indiana: Vincent Bros. Publishing Co., 1891.
Vincent, Wm., Song of the Grear Blizzard 1888: "Thirteen Were Saved," or"Nebraska's Fearless Mind." (Sheet Music)Chicago, Lyon & Healy, 1888.
4 7
44
Relevant Interviews
Berg, Emma, R.R., Lawrence, Kansas, October, 1980, and February, 1981.
Carrtar, Edna, Winfield, Kansas, February, 1981.
Mansfield, Philip, Lawrence, Kansas, January, 1981.
Peters, Velma, Lawrence, Kansas, ,February, 1981.
Written Communication
Birkinshaw, Scott, Ogden, Utah, October, 1;980.
Dodds, Joanne, Pueblo, Colorado, October, 1980.
Gilliford, Andrew, Silt, Colorado, December, 1980.
Preuit, Ruby, Wheatland, Wyoming, November, 1980.
Part III
AN ANALYSIS OF THE VALUES EXPRESSED IN AN 1873
MUSIC EDUCATION SONG TEXTBOOK
(A Country School Legacy: Humanities on the Frontier Project)
Paul A. Haack
Introduction
As the title implies, this country school_legacy special research project
was concerned with an analysis of the song text material found in Part I of
Graded Singers, Book I, for Primary Schools and Juvenile Classes, by 0. Blackman
and E.E. Whittemore (Cincinnati, C 'o: The John Church Company, 1873). The 55
songs which constitute Part I of this text were intended. for use in the first
three grades of the elementary school. Several rote learning songs constitute
Part II of the text and contain similar textual content in terms of the
values expressed. This text along with its companion volumes for the higher
grades, Books II, III and IV, may be found in the "Kansas Historical
Collection in Music Education" of the Department of Art and Music Education
and Music Therapy, Bailey Hall, The Univerisity of Kansas, Lawrence.
In the preliminary analysis it was found that the song texts under study
could generally be categorized according to six topics or "key word factors,"
each of which appeared in at least ten of the fifty-five songs. These word
factors were:
lor -- including references to the enjoyment of life and nature, and ex-
pressing positive attitudes toward the beauties of life and the
natural environment;
kindness and love--including references to kin, teachers, classmates,
animals, and nature;
2
nature--including'references to animals and the environment, particularly
birds, flowers, seasons and especially the spring season, brooks,
hills, fields, and woods;
religion--including references to God, prayer, thanksgiving, supplication,
and reverence;
school--including references to learning, study, and teachers;
work and diligence' -- including references to concerted efforts, persistence,
and accomplishment.
The body of the report will be comprised of a succinct analytical statement
4concerning each of the fifty-five song texts. Each statement will conclude
with the initial letters of whichever key word factors seem to apply. The
summary and conclusions section will summarize the quantitative information
concerning the key word categories and offer any general conclusions which may
appropriately be drawn from the analysis.
The Song Text Analysis
(Numbers refer to the songs as they are numbered in the appendix.)
1. "Goodnight" addresses the pleasures of both work and play as they are
intermingled in the school day. Respect for the teacher is shown in the
phrase "teacher dear." (JSW)
2. "The Star" expresses the greatness of nature via the beauty of the stars
as well as their usefulness in guiding travelers. (N)
3. "Bells" tells us that Sabbath bells announce the love of God and thus are
very important. And, for the youth seeking truth, school bells are the
key. (RS)
4. "Be Gentle to the Dumb Ones" refers to animals and encourages children tobe patient and kind. Do not beat your beasts. To strike is wrong. More
is accomplished by love than fear. (KN)
5. "The Creator" God created everything we can perceive--the entire beautiful
environment. (NR)
6. "Heavenly Father" is in essence a prayer for help in being kind, kind andtrue to all at home and school, and for help to mind "the golden rule."
(ARS)
50
3
7. "Morning Song" is actually a morning prayer which asks for help throughthe day in study and play, and again, help "to be always kind and true."
(KRS)
8. "Good-Night" is a goodbye song to classmates and "teacher dear," whichalso entreats God to watch over us all in our sleep. (KRS)
9. "Softly Now" is an evening prayer and a simple plea to gain heaven when
life is done. (R)
10. "Little Things" conveys the idea that little things like flowers, bees,and grains of wheat may be small, but they are valuable. He who scorns
little things, scorns himself. (KN)
11. "The Busy Bee" emphasizes the goodness and the rewards of keeping busy.
(JW)
12. "Little Birdie" extolls the beauty of birds and offspring and the related
processes of nature. (N)
13. "Do You Hear the Music Ringing?" stresses the joy of singing, especially
in the "school room bright." (JS)
14. "Little Wonders" again stresses the theme that little things are important.Everything that lives, every raindrop that falls, every deed that' done
adds up to fill the world with treasures. The value of nature ands -good
deeds is stressed. (JNW) of
15. "The Canary" hps to do with taking good care of pets, in this case a petbird whose song reminds the child of all the natural beauties God has
made. (KNR)
16. "Peewee" speaks to the beauty of even the smallest bird's song and againthe beauties of nature and nature's creatures are extolled. (N)
17. "Vacation Day" encourages children to enjoy the forests and the flowers
and to value nature. (JN)
18. "Fairy Land" is a night song which stresses the value of loyal friends,with the implication that it is better to have a few loyal friends than
many casual ones. (K)
19. "Clouds" again extolls the beauty of nature as found in tly^ myriad cloud
types and shapes which pass above. (N)
20. "Morning Song" is in effect a morning prayer set to music. Thanks are
given for safety through the night and for the pleasant life which not
all people share. "Help my weakness...keep me all the day." (R)
21. "Kindness" stresses that it is good to be kind to parents, siblings,
classmates, and teachers. Kindness is a good act. (K)
22. "The Butterfly" as with earlier songs about birds, extolls the beauty of
butterflies in their natural environment. Also expressed is the hope for
their preservation--an early expression of environmental concern. (N)
4
23. "Don't Give Up" instructs us that we should not cry if we do not win. We
must learn from defeat to gain victory, and that is the true test. Wecan learn from nature, from young birds attempting to fly, and so on."Try, try again." (NW)
24. "The Spring" tells us of the natural beauties of spring, the flowers,birds, brooks, breezes, green hills and fields. (JN)
25. "Good-Night" expresses kind wishes for a good-night and a pleasant day.It is a simple and clear expression of kindness and good will towardothers. (K)
26. "Once in Spring" tells of the beautiful birth and life of a flower. Theloveliness of spring and nature in general is conveyed. (N)
27. "I Hear the Bell" tells how lovely it is to hear and obey the schoolbell's call. Let us hurry to respond and take advantage of the privilegeof studying "while we may." (JS)
28. "The Brooklet" stresses the beauty of the brook in its natural setting,and personifies its happiness in its environment. (JN)
29. "The Robin's Song" points out that the robin sings his prayer to God fromthe treetop. The singing child observes how close the bird is to theheavens; but the mother responds that we are just as near and heard justas well. (NR)
30. "Sowing" is an allegory which szys we are sowing seeds of love or hate,kindness or discord with our every action. Are we bringing forth goldengrain or bitter pain? (NR)
31. "See the Blessed Rain" compares rain to diamonds. Rain is the richestgift of heaven for the green fields and the smoky towns. Note that smokytowns are mentioned in a positive value sense, because at that time signsof industry and manufacturing indicated jobs and progress; whereas nowsmoke has a negative connotation associated with pollution of the naturalenvironment. (N)
32. "Who Loves Me Best?" asks the question is it mother, father, sister? No,
God loves me more than all of these kind people. (KR)
33. "Learn a Little Everyday" is another allegory involving nature. Littlerivers grow to the ocean, and we should learn a little everyday and growlike the rivers. (NSW)
34. "Be Kind to One Another" instructs children to be kind to all whom theymeet. Treat everyone as a brother: friends, schoolmates, teachers,everyone great and small. (KS)
35. "Ceased is the Tumult" describes the natural beauty of a sunset. (N)
36. "Merrily" stresses the joys of romping through the hills and woods of thenatural environment. (JN)
5
37. "The Blue-Bird" relates how the birds and flowers of spring come to life
and extolls the beauties of nature in springtime. (N)
38. "Solfeggi, With Words" is basically an exercise, but does incidentally
refer to "teachers, so dear." (S)
39. "I Thank Thee" is a prayer of thanks for parents, friends, teachers,schoolmates, morning light and evening calm--for people and nature.
(NRS)
40. "Robin Red-Breast" encourages the robin to find its nest because the cold
winter is coming. It expresses an awareness of nature and a concern for
nature's creatures. (KN)
41. "Heavenly Father" is a prayer for help always to do what is right. (R)
42. "Little Streams" again stresses the beauty of nature, particularly in theenvironment of the stream with its birds, flowers, and associated life
forms. (N)
43. "Bite Bigger, Billy" dramatizes the beauty of selfless sharing and generos-
ity. (K)
44. "The Temperance Song" is set in the form of a conversation with a robin.
The robin sings "Tee-to-tal" and reminds the listener that, when it comes
to drinking, cold water is best. Temperance is best. (NR)
45. "There's a Bright Side" stresses that kindness and trust brighten theworld regardless of whether it is day or night. (KS)
46. "The Brooklet" again speaks to the beauty of nature via a description of
a brook and its surrounding life. The brook and nearby birds, bees, andflowers are observed as a little girl passes. (JN)
47. "Apples For Sale" has the boys it the class singing the salesman's partwhile the girls sing the cook's part. This is sex-role enculturation
according to 19th century values. (W)
48. "Up with the Lark" encourages children to start the busy day early anduses references to animals and nature to make its point: up with the
lark, robin, dove, lamb, sun, hills, and rills. (NW)
49. "Away, Away" makes the point that books are not the only way to learn- -
communing with nature is also valuable. (NS)
50. "Words of Welcome" extolls the virtues of school and learning. Welcome
"to our nice, pleascnt schoolroom, and teachers so dear." We wish to
show how hard we've worked and how much we've learned. Our lessons "make
us submissive, and gentle, and kind, as well as enlighten and strengthen
the mind." Learning is more precious than gold; we strive for virtue,honor, and love, and to lay up treasures in mansions above. (KRSW)
51. "Our Father" is a prayer to God the Father who shows himself in the
glories of nature. (NR)
C')1_1,4
6
52. "Come to My Home" is addressed to a pretty songbird. The singer offers
to feed the bird but then realizes that this is not necessary because God
watches over all his creatures. (NR)
53. "Death of Lincoln" is a farewell and a heroes eulogy. "Thou who did'st
God's chosen lead Thro' a sea, all! red indeed!" The values stressed here
are that Lincoln was strong in word, deed, and prayer; willing to do and
dare. (KRW)
54. "With Praise We Will Crown the Morning" states that with praise to Godand with toil--good hard work--we will "crown the morning." This is a
morning prayer and a resolve to the ethic of hard work. 1JRW)
55. "What We Love" expounds on the beauties of nature's seasons. In the
Spritig verse brooks and flowers are mentioned. In the summer verse,
streams, birds, and new-mown hay are mentioned. In the autumn verse,
fields of grain, fruit and trees are mentioned and in the winter verse,ice, snow, cold and sledding are mentioned. We love all the seasons--all
nature. (JN)
Summary and Conclusions
The key word factors hypothesized for use in the forgoing analysis seem
highly appropriate for describing the essential qubject matter of the song
texts. From the quantitative standpoint it\is judged that the joy factor,
which included references to the enjoyment of life and nature as well as
indications of positive attitudes towards the beauties of life in the natural
environment, was present in at least twelve of the fifty-five songs analyzed.
The kindness and love factor, which included reference to kin, teachers,
classmates, animals, and nature in general, was evident in at least sixteen of
the songs. The nature factor, which included references to animals and the
natural environment (birds, flowers, seasons, brooks, hills, fields, woods and
clouds), was evident in at least thirty-two songs. The religion factor,
including references to God, prayer, thanksgiving, petition, and reverence,
was evident in at least nineteen of the songs. The school factor, including
references to learning, study, and teachers, was evident in at least fourteen
of the songs. And finally, the work and diligence factor, which included
references to cor^cientious effort, persistence, and accomplishment, was
evident in at leas, _n of the songs. While each of the factors was suffi-
ciently represented to be determined a major factor, the nature factor gained
significant prominencJ with its thirty-two references. All of the others
ranged between ten and twenty and were obviously of major importance as
concerns the attitudes, ethics, morals, and values of late 19th century
America, at least as these were expressed in the primary song text literature
which was analyzed in this study.
In conclusion, and based on the analysis undertaken, it seems safe to say
that scngs were quite consistently employed for didactic purposes, that is,
for purnoss of inculcating and enculturating students with the dominant
attitudes, ethics, morals and values of the time. Furthermore, these values
seem to cen,er on at least six factors which in this study have been defined
in terms of joy or enjoyment, kindness and love, nature, religion, school, and
work and di' .gence. Given ±11-2 conclusions it may be fair to speculate that
song materials such as those analyzed in this study seem to be the musical
equivalents of the famed McGuffey readers, particularly when one considers the
contents of the song texts. Finally, it may be noted that the song melodies
themselves i. .t generally of a simple, pleasant and forthright style, consist-
ing of simple rhythms and essentially scale-wise or bavic chord-wise move-
m_nts. Thus the musical (jollities are not only appropriate to the,age level
and teaching objectiv for which the text is intended, but they also rein-
force and enhance the simple, basic values expressed in the texts of the
songs.
T
APPENDIX
Contents of Selected School Music Books
Employed in Country Schools During
The Nineteenth and Early Twentieth Centuries
t.
THE
EVilLerthEll ISIMILCODECOIVCONTAINING (MUT Lamm or TUN UM
APPROVED CHURCH MUSIC,
SELECTED dIIIEFLY FROM THE OLD STANDARD AUTHORS.
Witt) 3lionti (Original Compooitiono.
ON A NEW SYSTEM OF NOTATION.4au
, V
DESIGNED FOR THE USE OF CHURCHES, SINGING SOCIETIES, AND ACADEMIES.
BY A. S. HAYDEN.
CINCINNATI: a
H0911,E, WILSTACH, KEYS, k 00.
1868.
a,
ti
301A :1 °nick .... 40A Home in ilea-
All is well ... 245All balms New 60.mairla 37Amboy .... :18
America, s. 119
A met le4. r. 166Amity 13t
, Anvers 64A 'alpha.. 99Art ilia 67A .1111e1.1 . 257Atonement 2.16
Aurora... 183
A vake, illy Soul' 62
Babel 108haul .i 1.ove 76
109Barren FigItee 259Ilazeita 205Bentley 160ltelliphage : 173
11144Val. the 161Hester Land 286Bi ulah 181
Blegleswade 105Blackburn 86
r, Holtman ., 239Bourbon 26Bowman villa 118Bower of Pray'r 197ltiwei bank 95lloy.13 818Bri +tut 30Biockenburst 148Brow!! 66
ow/13%111i. 174.N.'"Va' Surnhaiu , , 263
CalcuttaCamden X7.1 60
Campbell's Request 220
Canaan 63Canaan 2dCanaan's Land 60Cdpnve's Bong 231Carmarthen. ., 136Cal met 287Celesta 69Ceylon 176Child of Grace 103ChinaCliurchward . 106Chinch's Deso-
lation, the. 260Christian Sung 186Christian Sold'r 249Chi isilans.keep
your Armourbright 227
Christ in theGarden 240
Colome 149Come away.... 286Come, Saints.
&mistime him 222Come. Sinners,
td the Gospelfeast 261
Communion 1. 68Com mun ien,2d. 64Compassion r, 1$3Complaint 42Concord 110Condescension 73Coo fideisee.... 39CoogreveCowper , 46Cowpeas 217
, ,
Dirley i 40Darlingtbn t#,. 78Dauphin., "122Dayis..,.... 213
wait itir'®
BEST COPY AVAILABLE"
plight 137Destruction of
Sennacherib 216Devonshire 210Devotion 25Devotion, 24 47Devotion, 3d 264Duane Ho 244
East Needham 66Easter Anthem 294Eden of Love. 237Edinburgh .... 192glom 72Ekon ..... 133Elgin 104Enfield 102Ephraim,: 165Erasmus 108
Ere I sleep 194Euphrates 63Evening Ilyrun 122Evening Shade 118Esherianon.L.N. 46Esholutoon,c.m. 76
Fairfield . .84Fairland 289Farewell .. 103Far, far at Sea 251Fatherland, the 196Fayette :.... 55Peed tny Lambs .1'2Female pilgrim 232Fiducia . 83Florida..,.,.. 121Foster ........ In0
iendship .231Friends °Meer
dom, .. 248Funeral Hymn lto
Georgetown 's .7 78God la Love... 248
ALPIIA nun CAL INDEX.flospel'n umpet 189Oration . 94Greenfield 126Greenwich 62
Hall the bl. Morn 216Hail the blest
Mem 2d..... 21698
ilempshirs 70Happy Laud 261Ilerpeth "' 29Ilerniony 182!lemony Grove 67Haven 142Heed of Church
Tliumphant 288Heavenly Union 196Heavenly V ialoa 274!lighten 168Hiding-Place 249Home 282!lope 112Hopewell 60Hosauneh 101Hew beauteous.-"
their feet 297116w calm, km. 162Howard 178Hubbard 80Huger. . ...... * .108Humility )16Ilawtiugdon 86
, .
Rumen 121imandra 190I'm w 1115
I'm od my)eur-bey hume....4t
hivitation- ,."2113Italian Am 103
Job . . 25Joy
Joshua 171
Jubilee 299Judgment 97Judgment Anth. 278
Kingsbridge 46Kingston 167Kingwood 130
Kirby 129Knaresborough 69
Lamar 135Lambeth 4 186Land of Rest 86Land of Rest,2d 87Land of the 1)43492Lapland 107Leander 88Leeds 4. 311Lees' .:..,.... 191Let songs, atc..161Liberty, c. ;64Liberty, r. 1281AM), Hall., 82bintehott be 38LingharatLisbod.. 120
; 161, 127
Lochleven 164LonsdaliLoving 1E10-
bets 27Lon ,131Lovett thy; Me 149Lovely Morning 283Loudon. 900LIJ903 166Lyttletok 163
Mtjesly NeWr4,33Marlyn 147
Memorial 188Merrick 161
Middletown 146
Milbourn Port 74Millennial glory 234Minerva 176Montague 44Atinigoniery 08Mortals Awake 85Martyrs Song 301Modlton 158Mount Calvary 190Mount Qhvet. 183Mount NelnIk 108Mount ZionMurray .. 140
Naplet 126Nativpy, The 226Newark...4pH 169Newburg WINew Durhan 00New Jerusalem 71New Weans.: 89New ales 1. 14/Never 'tilt ego. 34Ninety-Fifth .North fidentt. 66
r v
Oceans . ' 68'Old Li4op ` 120Old rashthued
bible...6,4" 223Olney. i. r 160Qrford .1 28Orphan's pt'ay'r.339
Parting Hand; 21Parting Vrienfi 143Paradise. '1..174Pastoral Icgi 164Peacefhl est. ISO
Mary's Inquiry '224 Fenneville 175
Melodia t 300 PelitIknce 170
, ." " *4,, ,
# ri ,
', O .1
Pilgrim's Beat. $38PlIgn WI Fare-
well .... 238Pilgrim's
pose ' 313Pisgah .....1 77Pleasant Hulk 80Poland ' 82Portsmouth 138PorthsadPraise iyt
Lord 20kprecious BIMe 260Princeton....: IGOProclamation . 188Prillechim 132
',.
Redeeming Lot ti14!Redemplion,.4 19Redemption', SG 191Ilepentanto..; ' 98hest. r.as.': 40Richland.: !04RidleyRuckbrulge 1,. -URockingliant 68Huth of Salve: :
Hob 187162,
RoYalty......n 180'Rosenfeld 144Russia 64Ruler's daughq.203
tSaint's 1104 104Salem ..., 36Salvation .63,Saratinilm..i 2)2Sardinia 91Savoy
103Sohenectsdy SISe liter Sup-
. tion 80
Sentence 262
8h8ehreieurtgdusrn
16OI
Shields
160
149Silver Street 117Solicitude 200Song of Deliv-
craace
Stafford
S n nn t . ... 622 206
*dowels,. Balm 2203,
Stir iii the East 214 .
Stepney..., taeHl. Moifod 208St. 201pulPeld 104 ;Stlutniutir 24442
9ymphorty 207,
Temperance117100
rTpoirbihjeartuince.:ilswisnol.act:i.place 100
trip. 228
ing kedrou. 202
Anthem '254
ing avvey,..1784p .
le :
Ganda '.. 209Upton .4 . 211
144
Vellum 141
Venus 12.Vernon... . . 126
SO
Virginia 42 '
V
6!)
Ace.,AS asAmin,AmberA hven&turf*.BristolChinaConte,:
to thefeast
ComplaiNaha*
Vital Spark 271Voice of free
grace 221
Wa hal 79Warren 146Watcher 294Waterford 188Waverly 77Webb 177
'Webster 109Welton 124TWas in I 41Westminster 101When Marshall-
ed on, ire 34
: '.. .
Whileslown... 43Williamstown. 37Wilmington .. 115Wietlali 69Windsor 68Winter is Come 229Wittenburg 188Woodland 92
Yes, we hope"'Day. 4c. 266
Youngstown ... 170
Zatiok ..... 135Zion 24
178
1
0 oc4. .;
,
- 4
.$4 1 7. qa" " s f.
2-
sN
. 001,Per ... ... 46L. . '1:40
All Saints New; 60Amanda 37Amboy .... 38Anvers 64Bourbon 16Bantu.China 28Come, Sinners,
to the Gospelfeast 261
Complaint 42Confidence 39
si1141Liiimajwo.e
Harley.. ...... 44Devotion 25Devotion, 47Duane Street.. 244Euphrates .... 68Bihar tating.... 45Greenwich .... 62Harpeth 29Hiding-Place 249H u uungdun 35I'm on my jour-
ney home 4$Job ..... 25KingsbrIdge 48
.7 .
a
-...Or.r.....oler,...or tr116-4K
ALPHABETICAL INDEX.
A home in HeavenAtonementAll is Well ............. .&Alma's ; a Judgment Ilytne
'Christian So:.terDevotionEaster Anthem .............Friendship.Far. far at tiesErten& of Freedom. &c.Feed my LambsCod is LoveHomeHosaunahi....
sit
s
rAtL-sw.
ANTHEMS, HYMNS, AND SET-PIECES.230236245230249264294231251248242.243232241
Limehouse.:..Loving Kind-
ness., 27Majesty New.. 33Montague .... 44Naples 123Orford 28Parting Hand 61Pilgrim's Rest 236Rest 40Ridley 24Rockbridge 23Russia , 54Salem 44: 38Savoy 22,,1::141 p.,
Hark, ;e morals, hear the Trumpet.Head of the Church Trtumpnant...Heavenly VisionInvitationI'm a Pilgrim and I'm a StrangerJudgment AnthemJubileeLovely MorningMary's InquiryMillennial GloryNever part again.Pilgrim's FarewellPraise ye the LordPortland
r
.1
N.
*Cm
' METRICAL .
Schenectady.. Band of Love. 78Seasonsose Sup- Biggieswade .. 106
lication ..... 36 Blackburn .... 88Temperance Ily.230 Bowe rban k 05Weston 41 Brown 65When marsball- Canaan 63
ed on, arc. .. .34 Canaan 2d.. 82Williamstown. .37 Canaan's Land 60Wbitestown 43 Captive's Song 231Zion ..... 24 Celesta 60
. i'r, Chtlikof Grace 103C. 114 Churcbward .:es 106
Apheka 99 Christians,keepArcadia.. 67 your ArmourAwake, my Soul 262 bright ...... 227
CommunionCommunion.2d.CondescensionDarlington ...East Needham
ElginEnfieldExhortationFairfieldFarewellFayetteFtducia 83Foster , 1410Georgetown... 79
257288274233233278299233224234248238265268
303
Song of Deliverance 225Sunrise , 21$Sonnet 250Sentence... .. 252Thanksgiving Anthem 254The Barren FigTree 150The Church's Desolation.... 260The Happy Land 261The Nativity 228The Orphan's Prayer 235The Situ to she West has descended lillThe Wittier is Come 229Vital Spark 271Yet, we hope the Day is nigh.. 254
-4
58 Grafton .. 94 Milbourn Pon.. 7464 Hallowell 93 Montgomery .. 9673 Hampshire 70 Mortals Awake 8578 Harmony Grove 67 Mount Nebo.. 10888 Hopewell 68 New Durham. 9072 Hubbard 80 New Jerusalem 71
104 Judgment 97 New Orleans.. 89102 Knaresborough 69 Ninety-Fifth ..75 Land pi Rest 88 North Salem..84 Lando( gest.241 87 Ocean
103 Lapland VI7 Pisgah ,65 Leander 89 Pleasant
Liberty 64 PolandLiberty Hall.. 82 RepentanceLingbain 68 Eockingbain
t 'la- r
6765687760
98
k ,
,
40..44 i6114 024.41.0.10404...." t.
P .1
A
TILE
*1:Zo ITT 'T$$ &IMMO 0001 YON
SCHOOLS AND AOADEMIES.
OONTAINISO
jit,t6.11
1IUSICAL NOTATION, PIIOG nubs' l'E 6ONG44ESSONS, EXERCISE AND
OCCUPATION SONGS, II TIMM, TUNES AND CHANTS,
AND PISCES YON
0014-01111211'S AND F_IXHIBITION.DT
QUO. Ir. I 2.0o'r,ALT11011 Of "AOADENT
TOO/LW," "'LONNA QUERN," "PAYER 011111," ARO OTUSS IMURIOAL MOIL
CHICAGO,
PUBLISHED 111 ROOT L CADY, 96 CLARK STRI$ET.
NW* alataaaa. PAW DYRAI Ala a WILIER, 1111140CLIVIA 1 II. 10411111 00 110151371; L 11&%1011/41, Of, 43,470441
tILI ILA
1862.
11.1
bead a bead M mess the Derr, --IIIAter the berate,Ain W11, 121
All member maid, 13
Apnl sie.wer 143
Ass Mt Roman bumbowl of brothers mtesd, 144
Adana the mamas.A meume of Ilea.Auranne blab an spealiag, ../%
/1111U1S,awnr owes
welemas e. finis Ned.Awake my seat mid *kb the can..-11Away la the dam okl Lent.----SI
114
Statudlci Sea,42
Si -metal of maw Hoare, -- .11WIlshatd trite soorniss asa 141
Ile :ben 0 GM,11$
lkfq of aim-.atm.
1M
Camdlas Mat mad,Ce://t the etmehum.
.17
Ch,1:7. boys. them .112
Gap. dap. MunkCoang 4wriaCome dwsti mth 411.
04210 &Aloe alma wItGm.. Jobs, beep time,Como 10 a sing a meter reseed.......... -.=CM*. 0 my mat fa awed laria--.---.1s0Come salmi We maim ebamt4tame SRS chi mamma mem
flail
012
12
Z....i.e. e:
CONTENTS.
Comm the maa.Dad( maid atishe is coming. .-.--41Derfietd.
131
lem t roe we me cuming1.--3Dome open :rid;Nem br the crystal Sum's side, --34Darn. Mira Won,L4241.Ise seeem1 &ad fos ahem us,Damned,Yketeth *war 17
Mating wear haeattfalIodate. uhakeet!
or a mews. calla/ 182
Tembem and Dc futc..Trust ea Mae 4w0U below its sides, --WY(leilr airtight bark, .
st
Ole me gm .pde. 11'
Olwti let our :mom he. ..Gal 11111...0411 Ls st.dtiese 112
Cod a my IuW.. 141
anti aid 114 %Theta/ WO...«
ao :Joh m y: ter Sac.,Cum ha. thr TIUNIOUrf..
Gam. InAmint I 18
OtecefutwGlowla adingItidtou. halt' LI
Ilark, thenark 'Us the i34112 ave. .- 77
Maur ner rms.ITicre 2nIt INS my Lauf11-re am me all to ham of simpleg, :War the swelling Male --it
Mee we stand, -- 154
Ilich in the arunoner /kr -----MMy glumly breaks the Elmer muse... -1211
/townie awn, mindtloannly ?Arbor. grant thybleseing--1/0To meter Lad member rue. . f 187I 41110. )444 wIsla.se. ruaam.-3 10If a hoer tbei a few* /44
If you ham am nag. 12
I hare le mother mow,have watched thee Mamma rivet, --S4
I te"Itste llifIrratitght°off clthorirbonwe'lanr
I'm / on a tumet 114
rn tin dark Yu:ember MirTa the :cats ofJorthl *tam the misname 'sLaughing /far Is ben. ---- letilft a9 to God the um,?.rases mu Wpm, .s4
Letothers dug of many tendsLet maws UngLet us cliched
151
Lift up the *mgit
Ltchtlr my- Vat I rustLleittl: We" twesiUstiUeda Dom.Slake raw =wk.--nark. meek3141r7 Mar
'aMere+ mom.,entaher... %
56.r1. = hari/c upon the 04ount2.402..-73'autaWar WO =A laud
-
'
BEST COPY AVAILABLE 8-
tilligelliNIPIARS311!"11.1
102
asawrelhlly wawMouratally ask theMs*. ferry whereMy *wit Meet hi. here,Mouth
talYu esurtai eye taws lead hethNarrantem
GMNettle loot 'weINave" Sows the tins
N ever wryN.,. taw ...see Orr
N's. Nr hove 11.1444,44U K WWII
ON, the fade and atediets Lurk,tlw calm hike. 4Oe the Wino el joy.
0, WON suablyhisOh. sweat the haw.13Old Ti Wier NW newt
o VW
Otte ewets atone hors dtuegetl,,,«_«... LasOen. seore Neon weOh Weed awes are Ow.0 aims, sweet atusle.
147Oee by sae the errata! eft"Otte by ate, at lug's bet tribes.011I the heathy.311Our Wham where ere they.
Out an the prairie,Out We liar river,0, 111.11 brimmed Piny with INC0. Via, the Mktg monad nor bumOh that the Lehi would
guide my walk 6,0o in the ether aluathisty care. Tot0 snarePardonPernosse.Me the fatesers *tarryflow we threedli the wtwAiawl
OONTNNTS.Reeking awl
rer131ilia on tha truckles.
Foe day .lityld c tamAye th height *nice,
IS*es the dears tionthe.Sri the has oflthihr ties, wye hmtol eat tohoy, ..... 1st
but itt itottr,sy
SIWW 444 the. well,S..Sw.14 IASens of the Nay
93Seem& of iltd Z4assuirr &situ,tail up roe Leyte Au&
adYead writ ISwert Ilope waits14wrot theTait. wedTi tether, way lies year ImpairtoOpeflUlin 414111r/WeThoThe littitheery of Preadent,The beta are (WOWS/The akihrt sheThe 11.41W,
ItsThe Ilea old YankeeTIN/ 'warier" Luba lady) wusitent,._t inThe Imanyty novenae
The hamar mutter.Tito ListThe Idled my SltrithentThanks to than taw lentrul y
Th. witanthtinThe tut*
sty tister?,I'bend, it lei giti sheen ddsltul91.
The a Ifiwto WWI
The aorta a the bobardiak,Tice "Woman. .33The SkAl NV,
61The worry Watt0.1They're wane; Wets
The miasmatut11,0 ...tat ihr
The Auto.-..17The hirde,
IllThefist recantThe mew a dos
WW180 In thuThe whin. .
1 t1The Fansone11.2The Star ?paneled
in Moaned idles,Thane tWAiWir Myer .111They mew whets the
stmentthh..........--..71Tr1 UmThe starry wadi.
ODThrough Itta.31The Lead Lopata the mar,
The 041 11,endrriith401Try the tehaes
1:oI. anatalus so tatty, ---rWavy awl Wain.Wait, watt, watt,Wake! 't rnwloes'a
117Wary and Lewitt Usestuainar air, ....Zit1.**With oto otot...mt tot, tat ths
Whether Tun MalayWhets tho pawn day is tlawaltat,......-1,2Wero euettitz...
urld.r.,?t, know 110W II*141014 toepratee from 'furlong plucra,.......1311
What iiit,;(4441. bathehet,' low a lade. John
41400 etlini yarddstt\......vmvwvsl-",-"9"477:777-17.!-T;T:relitZirogl6Oilt0000110AlatOtt*WOrg*Oltgi;, tiomajistokaiWistveriwsoavo4r4.:
tJ
BEST COPY AVAILABLE
ROOT & CADY'S
MU"SIO 13001S.The Musical Curriculum, By Geo. F. Root. Price $1.60. The latest and
Anal Isott.ctioeshush Ito eshipsco 64 Ma plane
folic, asd tists !hulks Mel sn s fib It. no-
iimsof met arptettslii Wet- /lows, flirty mloymt, Chas. frisk', Alaulph11sumbath, Oa*. W
NM /ass, TinyIIMISste, owl *Oast I1oslossts1 bathos
stet castrates's lothis comas, and taglosst.
The Coronet.Fur binclau Clara**, Conventions and Insiltnten. Dy (Inc.
v. vI IS .11ss111t: 116st.tos.
nndmr In lwor ossl 1.1nalmity, aid sr111
rndoknIle Ire the isisafsg !Ines( 5ai.s4 aid Cnostullom Coshlot Ws yeas to Lama.
The Silver Lute. (Enlarged Edition.)Dy Coo. Y. Root. For Schools,
Arsetrastea owl Jossrsil.Ot emits, alngls; 16 tee *Segel/. Adoptaa
by moss of Ilse
retk &Als Its the hotthts .01, awl Issas; of tits
Our Song Birds, for 1866 A Jtireullo itnoleal Quarterly, In four untnbera.
5y Ow rpool ..01 n N
The SHIM"INA Januar, t The POMO, A0111 Ths IIKb
NOW, JrlJ1 Th Oclort rack anode,templets In Moll, any Sksignml to totulsk
Ile. and orptsistate Illolefor Ow chll.h,n,
I. IN nosy los Ihol Day aid Osman5, tools, and also In
16. Noelal Circle These toassillen ^ Ands' lot the poor yen/Lave been vs ry extensively used, aid
sallet.Itss ..... Hui " fulls" alto bad wok* le onsskai snaltsts. roles of
ash, 11 c.f.i. pet tingle egg; 13 per dears; III per lown.beol.
Chapel flenis for Sunday Schools.A new anti xory completo Colloction
at Nina,' rchnott Marktclesi,J Pone "Our Nowa
Illssis," fur WA. fly UM). Y. *Da and II R.
heahv11.1 took op I.rl prat canedmic ha, and tea trod; recommend
II le sup to Oftilll of
t !.4 11,m4 5..a4 'Melt 1' ,d for tory. and It; H hetat .111.4 soy ethic. l'tIts,
*hash. t.py, Its hs.ta weer,.1S tests; pet Ittssatta, szst Is papas rover,
sine. tory, 30 csaWi pot
Isso.t. et,
The Musical Fountain. A little Collection of 'rcesporeoco Ilnaio for
Pottle t,,,e1,1 Iireilses,and Ike Ilona
which Is appendedthe Oats of Ms OotAl
with ....Is sow monis. 11/ Os* p. now like, III route single; Si per tfassn; 1h6 pet
ha wit td
The Bugle Call. Ily (lee F. Root Prico 36 coati single; $3.60 per
*S*7.0 Chl.101 allot Ally of Ihs pand sitting *one
Mal a ate mord Ia Ile hi. wit, hat,
stssista 6,t Mite at fuss, talus
The Cabinet Organ Companion.By Goo. 7. Root. Paco '16 route.
Ike tool ekespInsItnellow Nook for Sc.') Irish ussenle.
Root's Ouid for the Piano-forto. lir (Joe. F. Root.Trleo '16 cents.
11.0 noo icmatbd file. L.mk, for 18e pike, Su, hoglossetaan lb. Ilona feels that Las our bets
brand.
Army Regulations for Drum, Fife and Bugle. Dy pries Norina.
to.. 14 tens.
my 0/ the isbore Look,wet p co by Mail oil r'occipi
rebra pr leo.
1 H)
FOUST MOM:
"OWL SONG BIRDS' SINGING SOI1001,,"
MUSIC FUR CONCERT, SCHOOL AND HOME,
SONGS, HYMNS, ANTHEM AND CHANTS, FOR W01181111'.
IlY
CI E . . 0 0 t.1.1.
If I 0 A 0 0 :
PUBLISHED BY ItOOT k CAGY, 67 WASHINGTON MEET,
14.107..
-------- -.LW reanrott;Netter hoot that to repeat Its molsotatom Om totatmumit with
whip lo the ti ttAIDA 4 CUANICIM1)* IsCgitiO, viA. ; Every tOstchoil 11101 Annie Sers) /I
or tuAtiiitig that are ;Peculiar to himself, and 'front which others way, at least,
derive atimustious that kill Ito web& Therefor°, II tip wo do not auppo.so
I ho experiencedOcher.will always adopt the exact idare.cology of this "Shafting
School," a e boll vo ho will like to *co the way another teacher would work,
while the yowl to leer a III And In It just the help ho needs.-
I As to tho singing kuottg, we think nil, will agree that they have been propred
c iwith tarn, null aro attractiro, progreasivo and thorough; and, whether this nay
of Wachtel them be adopted or not, wo beliovo it will be found that they will
go far toward making good :angers and ready readers, If thoy are carefully ptac-
elle d in tho order in which they occur.---....,., we express the hope, that the last dopartmont In this book will ;.1 used
only fo ',mitoses of worship, especially those ploces III It whose words mu
Winn hoot the-AWhitt; that der children may early learn to draw tho Sao betwoon
monk' fur a -4 moot tuoliodutin for worship,
Thi*ki our first complete Juvenile singing buoirainco "Ilitatat LUTE," hint,
Wo hope.. Naiii-Vrt found ayseful.
Jautlakk 11161.
(ISO. F. 1100T.
Totes d, aeon Moe to Act of Coogrees, A. D. ISAI, by Door A Woo In the Ditritt Court lb. Wined
Dates let Do thallium District of lineal*.
The loselny oaks lb. cher to smirks bon loamy Own, Ise Ringo to. Do Onto halm rho pitch 41arhi stn, s etglasenossIt about ao Awl so lbe rams oatutally broil
It they has* Whaled blot, he haws to Oho Wok old. ol IA. btackboard and watr* elitistnotes this :r r rr r goo. " Um* marks way steal Fr lbe wompole werhose been eh/sings Hwy PIA calka quartet owlet"
ale then writes Ike a polls lender ratio nolo, and says ' "Now hook am Om Irleeklasard slot sales
l..eso Poufs& arils, sod yea will los sliming by oohs."The ;cocker woo clop to Iho name eight ammult, a Ilk 66144 eawadelloo, pomaucialloa, awl a
pi.lea I lone. Poch *swap the rolissoing. (ass class elegise ends Moo sllei haw.)
No. 1.Now to sing, Jot all be reaoly,Voirvi cheerful, firm and steadyIt., not 1.11114111 Mr WO( shOld, $1155,For a op a opulti not Mug wit) t pm.
lds% plensaut, blight and clinch-0,-Nut ono scowling, sad, nor tearful ;So let each sonic help Ito bringingTo the happy hoar of6alughtg.
Thep Ilnea me, be wellies' VA lb. black bawd radii Ms looter, end way Is roue agate, Iirthonght
See I. the lime to been Ic pals .m1011111131. Ms %Aces sod laaloo of tins slow. The*, and MAUI
Ite mai ant, by gooJ 'samples. hcsonth hyeuchala,ple Arecibo. a. Mk, sill nado, Issal about posttwos, I Alos tho Ineoth, oyeolng Aso enough, apt shollotily, *sot staging Orb pleasool, talkerohms load and *haloes, rakes. Third, by ems& S. {refloat of wars aid 'soak as aro adapted Wart
nixolnlly in) nthatally.
411
I
CONTENTS.
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1.446.04ir
GRADED SINGERS.
BOOK ON E.
wrFOR
AMP
PRI MARY SCHOOLS AN Di EWEN ILI:CLASSES
II V
U. BLICIMAN AND E. E. WHITMORE.
-+.1.4,1.....
PUBLISHED I3Y
THE JOHN OHUROH CO. I ROOT & SONS MUSIC CO.crINTINNATI, 0 1'III0AGO, ILI,
1,1,,fty
r
CONTENTS.
7213
..... 61
-0.1 51.. 14
011C. 111 Spring
Only a Little Spa. row.['twosPewee Sung..Parser eie . .
s,
..... ". 7o.
Itobin Ked-bteliet . -... .. .... .. .. 4$
75 Softly Now ... ... . ... . , ... ., . 14
the IIw..ed hallo, . .. ..Smiling Llitio Valley. ...
gt Spring Thud . 09
. 47 The Mild .
The liter . . .
tii The 11.1141101 . . .... 71
The bogy Bee ... ..... . 39
32 The (omm. . . n67 There... Brigid Side
The linsoklet.. .... - 39'Ilk T o o k . . . . . .70The Sleligh -111olo
2134, 86, 53
The tioloIroe1...-...The Ring of lb. 1.11110- Mr d 61
The Lemke... ., ,a,
The Lord le III) /shepherd .... . , III
.. 71 The Mom_14, X TIte Pewee ....
he Salle, Ay .TI.. Spring ./
X The brooklet . X. 51 The Robin'. titoug .
The Dinellird.... . IS Thos.' ante Smog .. 54
The Netting Hon 76
-16.17 The OW Year ono1 New 60
20 There's Shunt' I'm eM F3
Si TI,. Doty sod the 14(141T
RI
12 Th. q, Nut idiot . . Go
- 76 liny 1.11114 eksitotrogo St
. . 63 The Died-Moog . . . 41
. a, 77
lip will. the Look.. ,
Ilerholnesa63
. 61
IN rotation Dry so
7316, X, MI Who Loves kle lit 611 11
17Wilk Praise We'll ('4011 55 the 111001711, 0
AL 69 What Al o, Lore0 ortoinnwo 'a Ohl Way
Uit71 0'. '...l. of Wok .
I wag sad low t'aaary .......44415. door . . . ..........
ok prier b.r lode
Dottie front Dusk ..td Tore . .
1111e bigger, 11111y .No kind (Wine Another .
Ile Deana to the Detail Ones11114
11hrielarse CarolClold Water ........Coale to Ow Dell .
Coax 4. sty 'foam.Coins. Yellow (roetra . . .
Ceased is II.. Tumult . .
Casing .flood..Do Yoe bear the ShishDosel Oleo up,Death of Lim oh,
Keening Song
FairylandOutmUnktatt . 12, 0,God I. Lore
Happy School loryaHeavenly rather ...............11006.
he.. the 11,111 Tbsook Thee ......
klooluess .....
141ttle This wsED /Is pirate .Little Wondet .1 .
to and a 1.1111e tan y .1sy ,Lessolow almost Hat ollo 4ay1311163M IMPIan. .
Lullaby1.111446
korlookt.... .
Ms) Der tH..".MIJI/7111# MOMMerrilyMorning Pre,". . ,
941 too Y4011 hot Dist to Dew .....I,tit 4
3111111
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#%2111,111tItegitgokaal:46a.;d1AMR/b
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27
9" I# sJ
(96)
- r
GRADED SINGERS.
BOOK TWO.
VOIR
DISTA4CT SCHOOLS AND INTERMEDIATE DEPARTMENTS
OF GRADED SCHOOLS.
BY
E. E. WHITTEMORE AND 0.-I3LACKMAN.
PUBLISHED BY
JOHN CHURCH & CO., GEO. F. ROOT & SONS.,CINCINNATI. CHICAGO.
"7 4
ruts.Adria.* Flehms...--Assei Yokes.
Apra ShortenAutumn Song so]
Beauty Around ........... 47Beautiful May ........ 16Be Gentle to die Loved Ones isBright Flovren . . '4
Canon in two pastsCa..... ia three parts 1:71Contents_ ,s4Cltadree of the Unica ...... ysCheities SU Red A. 33
Class Farewell . .........
Don't Despair
Evening ShadesEvening Song .
Bromism for Practice....
...... .
Farewell to Wastes
Friendship
14
56
42
CONTENTS.
Gaily Our Boat assGently Row, Gondolas, 114Giorious SunGod Bless Ore Native Lead
God's Love 64God's Provnience . ssGeodsight, ilium Glorious Sua poGaud oleo 11, 37, 9s, 112
Harvest ..... ........... 64.Hail to the Wolter King assHail to the Morning topIlims to TeachersIles Om Your Row. ... styHow the Merry Wind blows IlyHumbly at Thy Fooistocl . 63
1( woe a &abeam 46I wander Ise the Forest Shades 96
Is it youf 31Interval Study 7. 26. 43
Leaf by Leaf , 6olet Nature Raise . loslet IA, with a Joyful Iliad .... 63Little Drops .......little Maseru . . 22Lit tht Streandet siLittle Moments ........... pList, 'tie Musk SteaMag
MapleMorales /tyreMonde. Swag ....... ...... .Mind-WisdomMeek averyeduaro-
144)
6,4307rt
ettemMusical Tema 6My Highland HomeMy Native Land 11My Shepherd as
Oak 64Ok, Haste to the Woodland soOn the Death eta Pupil 78Only a Penny Apiece 102Our Country k fee leOur Father..Oh, to be Bright as a Seabee*. '41
Praise 69
Rest in the Quiet Shads 3SRest for the Flowen asRein Drops.Recess 111
Sing unto the Lord 90Si ing of Birds ISoItly now the Light of Day. asSoft Answer .... ... ..... III4Solfeggio, 1, II, tp, so, 11, 16, sr, ill,
20, so, 32. 35. 31, 43. 44. 5d, 74.Ss, St 94, sm.
Snow Hakes ... ... sosSpringtime. 7Spring Flowers 122
Spring 89Storming the Heights... .. Bo
Sunshine.. .. . ...... toySummer Flowers .... ....... , 4
Snootier's Here..... .. ...... lijSummer Rain. . ....... .......Sweet Home 113Sweet and lam .. .......... .. 419Sweet Dreams .. ... .
Skighing Song 32Swiftly hear the Mount'n's Brow AySpring Song, or Hurry Along. 54
The Birds . .... . , . 1
The Birthday 75The Bells of Freedom .. ics6
The Cold Water ArmyThe I/awn
....
1 he Fairies rsisg ItsThe Farewell 41TheNora ..... .. ..... soThe Invitation ... .. ..... .. oillThe Kind Sunshine. 57The Lord's Prayer. 6eThe Merry Chriumas Belle 56The MornitmCall . sy11w Prairie Lea IsThe Rill.. a
Inte Rubio.i
The Sleigh Rids 49The Snow. totThe Sprig 44The SYMMS isThe Waving Core ...... 19The White Caps of the Sea ssoTheWitita-widel IOW athe 611 BugThwart .... .... & & & S
100
a
PAWL'Tie well to have Merry Heart ayTwo-part Sliming 11The Picnic- 39The Lakelm 29The Skaters. 19,19Thy Will be Done......... $6
Yacatioa's Coma es
We are Coating.When the Mists
DEVOTIONAL
America
Dear Father ist
Edwards 143
Gently Glides .......... i43God's Care .God's Love ....God Bless our Naalve Land . .1 :11God's Providence . pCod of theGreat God, to Thee 136
Heavenly 'Father . ..H
115Humbly at thy Footstool Ilet us, with Joyful Mind-- 63
Maple . Os
M.ssions ts
Is -45.130, 137lo n
Shepherdrnig 43
Oak 64Our Father.. ssOh. Praise the Lord 13sOh, Render Thanks 439
PraisePratte the lord.. 63.140
Sing unto the Lord .
Sing unto the Lord a New Song is.Soft Answer . .
Softly now the Light of Day asSt Asaphs mai
Teach Inc. 4) toed ..... . 31
The land's Prayer.. .. . 6e, ky6The Lord II My Shepherd . 134Tim Lord Is God.. ....... iiyThere is a River 142The Merry Charisma Bells _The Sacred Book.Think Gently 131
Thatcher. teaTwilight Shades., 115
We Gather Now.Whh Song. and Meson tWhim Morale( Cases
3393
234
I
,,
I
,I
1
S 1
4
GRADED SINGERS:
BOOK THREE.FOR
grammar, jnIvrediate, or Riskiet gdwals,
SEMINARIES, SINGING CLASSES, ETC,
Y
E. E. WHITTEMORF AND 0. BLACKMAN.
CINCINNATI :PUBLISHt0 BY THE JOHN CHURCH CO., 74 W.4TH ST.
CHICAGO: NEW YORK:Root I Sons Music Co. The J. Church Co.
200 WARAIN4 Avis. la EAST ION 3T.
/ (73 Jj
CONTENTS.
GRADED SINGERS, BOOK III.
PAM
A lissibeset '9tAl Nome 97
Amy Word_e--........--.--.---Be you to 3:
Bend on yam Oen. :az
Blow yeBright sad 53
Can you Slag 44
C-atcn the - 31Coming Night. ..... 22
Cams and Rest --Came. Music. to my 35
SzlienjunT Susg" 2630
ainstanas Card-.==== 136Chong of 149
Chorus of Angels......-._-----..---- :51-Dare to be 42
Deal .. 77
Evesing HynesEvening
FallingFairy Lend
Fact and FancyFarewell to thisPisecy Snow.
Gentle River -
.
Go Forth a= Place.. ....
GY1114Greeting toGreeting to Summer...-.......---.--.Good Night -. 99Glistening Dew ...----- ...... -..... 19
.. irs6
10733
t34/
Ii
I
SIIn673973 ;
145S.
...Hail our ii;tif ;Sian ... ... -He Carnes the Lambs inhisBonom 37Home.... -.. 26
Hops for the Morrow ... ..... .---.-- 4I Come, !Come -.. .. ..-.. 91I Dream of all Thinp--Free ... 64
1.2212 for These who Love Me............ 74
:rtyr-x;;; ..... ..................................... 121I* 5
"told Words. .... - ,Kind Words can never 'Die -. :3Lit t Pas ..... ...- ....- - -... 6:
--. 571t4
,i+1 :Moe Eyes ..... ..... 154Amon I. II. Rythmica ......-........... 3
-man III 1V " .-..- --.-.... 4
.410011 " VI'
" ... ..... .. _was VII VI:5, Mmniand ital- 1
Lesson IX, X. incerwri.Lesson XI, XII, icale-TnsWnsii.W;
Modulaton.. -_ - gn._ -..-...I
Lames XIIL XIV . liature -..- 9
PAG11. FAG&
Leeson XV, ModuLauon.----.... toLemon XVf, Clients= Scale ............ iiLesson XVII, XVIII, Dynamics -- 15LA01011 XIX, Tonic Han= ...... ,-. :3Lards XX, Dominant
I.14XX! , Progrees100B.
Lesson XXII, XILIII, Tonic and Dom- I.inant of G 2-i
Lemon XXIV, XXV, Your Part E :6Meek and Lowly-------.-----. IN110T11111( Sortg.-----772.---11--:: 17Modulation Ex ......--- i 56....1;.7;1.17;
MUSIC from Shore....--........---'f-- 130Musical Terms 12
My Home is as the Pi.earte. -. 46
Now - - .... 64
"fillat ----.......................Oh, never Despair.....----- ..-. 49
Our Native Land - - 29Oh. the ten at Night-- -- ---- 31One by -« 311
O'er the Water - -. rOur Farlwre, When are They- 96
On the Mountainnariligr z allOh Wrap toe in
Preface ...... . 2
Part II - 8$
Praise. tellSOlf9alof "14. 130 41, 33, SOMA., 65.61.73,
79.23, 212.89, 95.105.113017.113./27Sweet Flowen 39Sweet Roses ..-..Sweat Home. -- -- IllSweet the Quiet EveningSay a isinefWavd when you Can-- ....Sweet HopeSnow Flakes.Song et Cold Water.Sleep --. -- 75Stormy Winds :6Shut the Door ..... ----.....---- 66Sunny Side .. ....- ..-. 78Smile Whenever you Can....._.._........ 79
Sharp Jack From . .. 13tSIW1/16 ,.... ...... ......., ,,,,..... 1241
...... ....... 3-t6The Bugle Horn-....-.- ......----...... 43The Lent ...... 34
343051
The 1rThe Star Sounded Banner---.....-...
,The Watchman ...The Cricket ........ ..The Drooping Flower ..... ---..--.The Autumn Ra: - .The Merry Chimes. ...-. ...... -----The Wings of a Dove........-- - --Tiny Rant IhopeTell ins Where is Beauty Found--Thankagivuzi far HarvestTwo Part Singing.- .....Three Part Singing.-- ...........TruthVictoria. - ...... IcaVon Weber ill
95, 100, 105, 114, III, 135.140We Min you All away from HomeWhen do the Swallows Go- 110
:so
wWear11121 Willows 141rob
Wavy and BrightWhat makes a Man a Geminate-. ..-.Youthful Days.
5551
So
Itag
95
3069
31
3424
AjnBishe:Ir
DEVOTIONAL
.... ....itu:66
Blessed is the People :63Cast thy Burden on the Lord 157Clarence...--- -----------. : 7eDennis :72German; 158
God Plane it All. 16:is Love.
Gloly to God t73g
Glom in Excels' :75
HHuymmitiiitZl Trust.. :7417r
Italian Hymn 164
' I will Seek sty Father .... 167
Lord. We come before Thee now. ....... 15L
i Lord', Prayer . 161
Mortimer illhi
111Nonni
Prise the L014 ..... 159
38
Praise to God... .-1 PTILIIII
t34 Old Hundred. -.155
The Rainbow . ..-- 25 Portuguese:Hy= . ito
The Traveler's Return -.. ..-. 36 . Rhine ... 15$
....--. 35 RosedaleThe Skaters:70
The Sailor -.....- 39 Stockwell ite
The Vine27 ; SicilyThe Rising Moon ......
:71
The Invitation ..... Sc:row, 164
The Herren -4e76 1 S23 The Land beyond the River
156The School Bell ....
The Thing, I Love....-. 93 Thanks to Thee
nuros
The Old Folks , gs Truth 17:
-- 23 The Reaper and the Flowers.The Rain Drops174
The Merry Birds....---.-..--....- :8 Washington :61
The Deep Blue Sea -.......-.. 139 Washington Street... ......... -.. ..... ...-. Ise
BEST COPY AVAILABLE'
GRADED SINGERS:
BOOK FOUR.4
POP
HIGH SCHOOLS, CONVENTIONS, CHOIRS,
AND
C140e4 d ClIcatitefi of Is Vet 1e VoiEe0
RI
0. BLACKMAN AND E. E. WHITTEMORE.
PUBLISHED BY
JOHN CHURCH & CO., G17.0. F. ROOT & SONS,
CINCINNATI: CHICAGO.
CONTENTS.
GRADED SINGERS: BOOK IV.
1ST GRADE.3
PAGI.D GRADE.
2D GRADE.rade.
'AO
S American Hymn9s i Away to the Woods 125
ao I Fal and beaindul Snow 3A Hundred Years agoB/emed Ram
, DarleneBoat Song -BellBrooklet
Flowers ---Freedom and Truth -.FatherlandFather, U
Go Pray.Hammer Sog -Haste thee. Fairy .HaveIn the Forest. -Intervals ...... . ..... -.-.... /
lLand of our ?ashen.- -----Laurel Wreath.
and Tripping...--- ...Merry MayMusicNew England-......- . ......Nevi.How.Now the Glorious ..............---Oh that I mudPsalm ofRam on the Boot .-. -Summer - -Shades of Evening --Soldier, WakeSchiller's LonvngSweet Home..
The Lark --The April Sonshower ......Till asVocalises -
__ Ann Chorus -.
41 Free Education .... - 96
21 H&piY New- Si
,__ 82
47 1 1 win pretUr Thee.03-- ----- 56. 632 r13 i interval..
.....---- s3 . Lift dune Eyes - - ..-a11 Larbord Watch . .. 93
It
31 I Lfup your Heads -- 951
41 I Last Rose of Summerzo6 ,
32 I %DOS- _. m. ...63. 64, 70, 79. toe. tos
7. 16. 17, 25 I Otiprasse-t-h-eLord... - - .. - . 57
34. 33, 40, 46 I Only a Little Child--.-.- 79 Our Flag and our Onion-.......
x07zo6
is i Sailor, Kest -- 6o
- --- '86 I Spring's Delights.--.... 65
32 , Smiles of Youth - 66
36 I Search me, 0 God. .. ... tea
.. -- 39 I Sunshine . . ............. ................... So66.........
4324
..... 113
Scenes ofsmik of all the best-Thou wilt Keep Him
Angel of PlUCDCS- . 164
All hail to Liberty ...... 192
Blessed are the Men - 146Closing Day zaz
Daughter of Error z34
Drops of Rion 175
Disperse ye.. z 87
Evening - 145
Eternal God - -Farewell to Horne. - 14SFarewell to the Forest - z66
, How Meanly we LYS. ... Id1 Huntsman a Farewell 41
Hear those Soothing Sounds... .......... - is6
It I., the marl - . IllI Incline thine Lar - z6o
Intervals and Studies-.zoo, 123, 1311, 244, zsa
ILet us go.- ....-......-.-- ..... -- ...... ttoLord, bow ;hine Ear z96
Mark the Merry Elves-- zio
Morning Prayer. 184
16276 Our Faaler, Protect US - 154
' Pelage Bird 173124
7
..1-2
Sweet and Low.
101254151 I
9 1..... 25
-23. 33. 59
ADDENDA.
Switzer's Song ..
Song of the Lark ...... ...... z5z
Thou Reorient.-.... 110
z27. sm. Dm. zso. 2.57,Vocalises.. ...... z68, z79, 195
While all is hushed zos
Youthful Flower - 114
PAO&FAGS.
....,. 212 I MUSIC:LI Sketches- ..............-..........as
Ashville.'op , Germany -.
206 t 0 Blackman .. 313
203 Guide.Players Hymn - -
..... ..... leo
Aubum .... 214 CrossLand . . no I Park St ..-.... -
Barstow ....
213
24,,,,, 225 Golden Gate. .-. -. - 2,6 Rosedale .... - NON 207
Carlos
- - 2o7 1 Shelter. .
Bitaneinhal ..Garnet . . . ..... . ..
Cairn .. .... . sot ;Wien Hymn. --1 Yrs Inlet. -
leo Stockwell201 , Sabin
-. :2211101 Hume
szo lamellalos I 'nate
--
CAter..... - ..
amstenieldLade -
206 1 Shadow of the Rock.. -... ........-....- tea
Lindens. rollLawrence - . - 210 Smile -.... - 225
mo ,
Deertors St. - Lyons.-. . .. 204 Skeet. - -
Dever* , .. 703 Morton; Praise207 ' TI.A1Cht2
... 201
Evening Song
sos , Soiney213
219 Sit I ri bele
....
ace Manosh . . 113 1 Werra,
.... - 702,
Evening Sham* ...... 2z6 \Imlay Chant .tos Wrishington St,
Flotow
.. -uS
224
7:) BEST COPY AVAILABLE c"-)
t..
THE
VINEYARD OF SON11)1:4--tt I; I/ V() It
Go.
SINGING SCHOOLS, INSTITUTES, CONVENTIONS,D AY SCHOOLS AND ACADEMIES.
BY CHESTER a ALLEN AND THEO. F. SEWARD.
letti Val; nod Viticaoo:Published by BIGLOW & MAIN, (Successors to WM. B. BRADBURY,)
L)t)
41
76 East Ninth Street, New York, and 73 Randolph Street, Chicago.rot. by Iltobli.ftellerft Civberbny.
EIIICIt I to "Filo.. A ul "iltes* b id/5, b). M +{v, tu btit,, 44 Ilia Lanatitli ut Cuitgte, NV*14ogiou
P
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Cu 11(111( IL/1, u1 a11(,1 .1( ordain with this 1.10.17li it ( utattili), .1 ely t.liitully ianged
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lurch_ titig and tisetul
the dcpartnicitt of the 1p NJ. contains a 1.11ge into 1,, 1 ut S1111/1/1 Songs, (flees .111(1 1%111 si111.1hIL tut the s111gIlig class
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SINE:LNG CLASS AND SCHOOL SONGS, GLEES, &C.kl, 11,, i-, t,., 71 G.1 t 11,1e,
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on<3:61:117B
MAL)ItI(iALS, GLEES AND HEAVY CHORUSES FOR CONVENTIONS ANL) SINGING SOCIETIES.
121 I II t IL ot,b1.,/t 11'1 It I 1)1 , 1 01,p, 1, !. I it ,, H IIit,
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PREFACE,
Tale No 4 of Use P01105 of Unarms' Scosons we HOW give forth to Ilse
Aorld, hoping it luny do its pout toe:tell sssnkissg music a pensument study in
mot schools, tool thee elevate the standard of music in our country, noel
make us, as a people, musical.Its most obvious feature is, (lint it follows No. 3. Work of a more
liflicoslt character has been intstnIsseed; discussions of subjects a little souse
domough, and the nil '.e, of cootie, of a sumo enjoyable tontine
1 mokisog at the ok a little more carefully, we find these features :
T'se soak of L'A we SIMI I/40 loss been elaborated. TWO pas ts having been
oisloodued into No. (, exereibes nod songs of a FINCI et style, with leo pasts
ur found louseThies: pasts have also beess worked up quite elitism only. Beet:ter studies
iis tbreiatrt singing me reserved for feline ssumbers.
The AITI:NDI X is a novel feature fora soissic book. Ito this will be roomd
some iliStlISCLIOUS for teachers.
It is ple:tsnost to observe the public suite! iu its sing fsmn rho old
ideas of musim is schools, to the snow 0 simils's ; front the mason that children
could lesion songs only by rote, to the idea tlutt they can karst uusnio, is a
legitisounco sty, front the notes.Dist 'lure modern notions con he carried out only by our slay school
leitchel getli tog, while piertring h1 otheo loam boo, it keowleolgo 'nosh.
Selseol direetoos subsoil teach( music teachers, patrons, mod music
4e:de's, must requite of our to oti ll i l sg schools that they educate their pupils
iss !Mtge.The wheel music of our country is, by this means, to be very much
modified. Inctend of the melody alone below steed, to give musical
!demure, the parts coming so are to clsousgo (Isis to the cbartsi ; and when, hs
the next pewter century, 'undo is Insight in all eelsools is, this country, sis
n region's sandy, who can not fosesee the ressolts 1 Musical societies in every
tdwuship ho 'agonized from the grown up /scholars of our missed/1, mid
the works of the great 111/131118 %ill alone satisfy them,
the musical public urge ou the work,0. BLACK MAN.
a.. ni.limpt 1. AI I .4 nutstmoo, A If.. 1141, fir NNW * Im 116.11-1, Of 00 U1/114Mere I,, lb. Nov Fp njoiri, I of 111$1101.,
GRADED SONGS.
o IV.
I. DosTlucrooas IN Tones, An examination of various tones (muslcs1
:muds) will had OS to observe the three following differences :
1st. lAossg or short.II. High or Ism.3d. Solt or lots:1.
II. PIM PERTS 1.3 or Tusk:3.-11e three preceding distinctions lead us to
recognise three esorsespossolissg properties of tosses:
1st. lietsgt1s,2s1. Pitch.11. Power.
1.1;.. DEPARTMENTS. 09 account of these three properties, which we
necessarily consider in the study of music, it becomes convenient to divide
the subject into also following nutsssessts:
1st: Itsivvonscsthat which treats of length.2d. Moi.oloscatIsnt which trestle of pitch.
IntsAmIcsthat whirl' Denis of power.
RHYTHM /C S.
1. LENUTII of 1114 Aic, Ilse absolute length of tones is not
considered. We do not measure the length of sounds, spakiog ono n militate
long, another a Ions tls of a minute, etc. The only length we consider, is s
relative one. Oise toms is as longns the time we are ;staking osse motion
of the hand, another is as long evils, etc.i. NOTE. .MOW relative lenglIsa of tome are sopresented by notes.
The name of the notes arc :
r rWs*. W1.01. Hwy. MN NO.. goorter U.S.. lag6111 NA*.
Others derived front the above:
1°'0 etc.
stslonth
0._ . etc,
. Whole Nolo. 0.110 Mat NO..
The slot having (meial( as snitch length its the note before It,Tito large Isos.tn ice the length of the %thole note. The whole sots has
twice the leuglls os' the half note, etc.
CON-TENTS.4, key Di ..... ... ..... 37
Arudiva 37. 5E. 59. o0, 1April i=h..wtr,-4 dat, key of 1141
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+8111101111.321
BEST CRY AVAlLARt 7-6)-
THE NEW EDUCATIONAL MUSIC COURSE
TEACHERS' EDITIONFOR
ELEMENTARY GRADES
INCLUDING A COLLECTION OF ROTE SONGS, VOICETRAINING EXER
CISES, THE MATERIAL IN THE FIRST MUSIC READER,
AND SONGS FROM FAMOUS COMPOSERS
BY
JAMES M. NIL:LAUGHLINDIRt' 7011 Of MI SIC, Bosto-4 !'vnLic 'l of At, THOR 31.'
(I I ,1ENTS AND NOT Artm, Mt '
AND
W. W. GILCHRIST-c I" t. c) comp,.s, 'F ye- R t_HIT Joel "
ANT %TA `,VIRKS
GINN & CONIPANYROc TON tvrtt' YORK. CHIC AGO
461
DON
-en
3-It1
t riays of npringDigging Snow Paths
M. E TapperNath Han askell Dole . . Frerlerre /da'O 17:aura'
12 I 41
93 .:3
Ding, Hong Janes 31,:,:les: 17
Disappointment, A Louise st.,knef 31h/wrap's 6
iDo Nut Delay G .1/ C,arret 110 34Dream Fair), the Thomas Hood A- L ami,e, 1 06 4
.1 Dream Man The Rose Miles Geronan t 5
Dreams Frank Dempster Sherman 1/..:) c :1.11 f ,,, 25
2
?Dustman, The Mary ''aughan If Prit:e. 1,11 i
4g Evening Alonymous .4 Hit ler 70 7
iEvening . . . ....... S, Baring GouldEvening on the Lake Nrhan Haskell Dole
/ Aelll,,l, 124
.1'.14 Stlc 134 49
EvensongliC Elson M rEventide Lou
Fury Book. The
M. I.. BaumLouts
.'
A Ubte Farwell Brown
el.:,,wi.i 224
F 3,_ ice 107 36
IV, 3' Gt.', iri4 165 70
Fairy Frost Margaret L1. in oton 52
INDEX OF SONGS'
Teachers' PupilsTrrt.i Au-Hoe C3MPOSER Ed. Ea.
Page PageAll through the Night ll'elsh 155 03Amencl. . . . ....... S F. Smith Heltry Catty 20S IllApril . . . Julius Altman . It' IL' Grhilrirt toS 33Asleep and Awake Mary Vaughan . . . Si 4iiman,1 24At Night . . .... Louis C Elson i R.,,r 240At sunset John G Watts . tram:- Led! Ballard 124 ..43At Twilight Mary Stanhope 4.5'ar,iby 2:oAutumn 1.!exander Smart ....... '70 6Autumn Leaves i 30 47
Autumn Pleasures Louis C Elson Bettlwven 235
Autumn \V ids Stella II. Seed RUSSIJII 147 59
Bee, The Frederic F Bullard . . . . C Rerneci.e 197 95/Bell, The flue S. Morris tot IS
Bell. The . . .. Mar Vaughan . . L awards 1)7 4
BiLyclers, The . . . Al ;antes 195 92BlaJksmith, The i95 91
Boating , . Ante E. Allen C 17 Ed,:: :lir:. 10
Bright the Moon is shining ... ... ......... 1.,i 97Brov.mes' T., mbreilas song story M L. Baum . . . ..... L Gut , 'roc ;3
....tampion Jumper, Tile, Song Storry Engiish hl W re 33/r Child's star, 1 he John B Tabb 1t' L z2.0.o 53 2
Christmas Day .. ... Rose Mims . . . . . /".ten r_..., 'Ic . ;al 42
Christmas sung, k Edna. Kiii4sley Wallace . IV 1. .4,^^4ten 103 69Coasting Cuia tailoisli . . .1 :,',4,1 s; toCold :he Winds ot-Mar..n . , 3,,i,/,/,,,,thril 105 30
Columbia, the (em of :ne Ot_ean David F Shaw . L',1:, II I' 3/111:0 213 116ladle Song German /', prims 234
Cradle Song Elizabeth Prentiss J .11 .11,Laucl1ia 03 3
i The left hand column nl5ryrea reen to :ht. boos the right hand column to he editor, 01 he Sew F rtt Reader which tr put intoite pupil's ttands
207
(II 4
BEST COPY AVAILABLE
?M.; INDEX OF SONGS
I-. Tt.i 1,1101,1
Fyn jtIA i Frank Dempster ShermanFair. Ring, The lexander smartFaith, II.,pe And Love Goliharditant0 1),ini ' nips. A Malcolm Douglas . . .
I an, : . I. rank. Demp, er ',humanPare ge I, Celia :-Itani.....n.
fr .1, e VIW el.. Tlie Dean SsNift
"'Flag if Our Nat.on Charles WelshFla.; of (Jul Native Land Nathan !Iasi...ell DoleFlag c. ice "Vie Mary :stanhopeFlower Dances Irs kndersonFioi,er S.,;(1 T'mitlosssir Tiiinglts Chris,,na Rossetti .
--"rnotba:1 tame. The Rose MilesFuuna,n. T: e James Russell 1..-iete'l
kbbie Farwell Brown..B9end,Finn} 5.ort, A W M. Thackerav
r ,ar.,v, l -Nab.-George Washington Edna Kingsl,v 11 allace
wart. W:,11 A Kathleen Knoinhaer(,,ilden Rod. rie Celia Stanth,it -
Good bye to 'he Firm Robert Louis `et enhont;,,,,,Ihye to Summer William Allingham
Goiati Mornin 1 I. BaumgGoti0 Morning. Merry Sunshine 1nom,mous
Got, i tl.,-.I.'t . . Lord lIougntonGr,i- il tii...,nr . Ro'e Mile.,
Greetin.; German
Hail t1: ...11,11),1 . roseph I InnIsinson
1-I , I ,t.i--, 1 d' 1 1 I I anti
H irve,i S.,-..; 1. V al ,le '-;at,i.izny .
--Neigit , D ii -it. s -1,d 3aterc,rs lean IngnowI fot% 4. e A ; d BlowH_Vri" if arran r wri,,,
14)nm. .1 . ...... Mary ti.tannope
COMP0,1.1.1
Frederic Frei 1;traardJames Treid
Ch H Ritz, 4/ ., are S K.rowlt,1
i;riti .1 144.:itc ./. D Siiiihni.
y If. i'lcrazicitlin./ .'l .11ci :iciltrt
Teachers' Pupils'Ed Ed.
Page Page
141 55
197 95SO 17
43I 31 471.43 5987 IS
100 27
:03 405
Dr ; .1farrt:er 36200 )9
IV IV c,./.1, A,/sr :07 t 4 t
. . _lane .Ilins 1 45 92
L,,t/..,,,/ 157 64
; Al frIcLatz{ehn 110 53"lorry it'; :11:aZtv t;: 48
Ai Write 77 i t
it', 't, it 50. Laura /.;:c 99 27
;antes .51attler 69 5
A'arl Glazer 132 48f; a:el .1beLer 170 71
t;ty, .1 1.,-,::-.te 145 57,V.r ttis II" rue 217
:rarc,Tret Sur/rrot Lanc 175 78
ii ,,,,, fld, 'I 118433
56
S3
Mour,....ri..,1 :IS
/i:i.r 211 114
77 12
- . , /'on, ' -4 77j 17 17, L,IIII'',1111 :01 101
'' I: ,lirtil ;17 39200 109
frier :55
Pt; ,r I.."Ve'on 103 90-; to.. 207 III
, Cir. RernevAt :02 103
r;;; 93
3
:44:4
..,";" /,.:;g1t, ,,,r ;It 55
1-1 ;t- ,;., ,,,r p19 97
-17 25
141 6o
-2I
144'e : es -r1 -1 .- ' r nr!e. Finks
If .1.,.rna'.... i...,i .a,', Vouie Fumed Brown
II..,,v. C. let-11 ::-_,,inime-T me ....... . . .
In a :1)at . . ..... \l' I Ilatin ,
I it 1tt :ft y, T" . . ..........1 '.I. I.11 gqinrrer . .
Intim,- rt..Its.0,e V ir, ' eita 'it Indish
1-n F., -01,-(*., ',it Mar7,arn. I ....ne,ton
1.4 F...;.ariN.own It -ink riernpster tsitermanM rt, flub i,
Gabriel "einii
K.ng 1F.ank Dempster -4herrnan
I ant G idettrr,i cI I, i3 tun .
Vice lt (2, trns
f lice 1,11m.
1' . F-ark Peninster . 1.1", ;le
1^ Jonn B. Tabu , ./MeS UP/ if 17
COPY AVAILABLE
Ti rue
Litle Bo-PeepLittle Dustinan, TheLittle Gipsy DandelionLittle soldier, elleL.ttle W,ndow TheLookmg tar the Faire)
LullabyLullaby to 111 Infant Chief
\larch. l'he Panstng s.ohnersMarch W.ndsMa:. Da:. songNI4A,atberMerry "katers, Themerry Winds, The
Howes TheMoon's Reply, TheM,srningMorning GloriesMorning songMorning Song . .........Morning song,My Kite
."&-Nly Mother .
Nato.e Coun-yly Playmate
\My shadow--Xy Valentine
My Woodland .
INDEX OF SONGS 269
I. THUM
iinnymousCelia StandishEmily II Miller
CJ,IPO,ISA
J 14( .E.'hutt
.4 rr .'y B,.znIns/
Woe,f4' G., I. 'it ?sr
Teachers' Pupils'1-4 Ed
Plge Page
ii 40
13'3
5
.39;
r1,,tuitITIOLIS . F .t. 65 3
Isaac \V iu, . .
riiiton WatermanIII :04 107
Thomas Drkker . Fii' 1,4 .4Jlf Walter Trott clividu jog is jt) ltJ
Abirte farweil Brownknon)mous
C Cuuun,.,
G. 4 Gc,76.21t
171
R 1 G ,t;, A S 47
Lelia Stalaitsm 232 I c
\la-v Vaughan n.! ,! I 24 ;
(90
,,ernian .S 254
ti A L Lane le 11' 6%4h l.)4 S 4
Louise st.i.knes* :00
Abbie Farwell Biown . ileurr floldeu Ifu,s 1:9 45
Anonymous 11,11t11
. 11. G14/111.it 43
.War-yard A'tith7 en Lau; ,23 43
Mary Vaughan . . 13t /or f film.: t 12 ;5
Mary stanhope ,' MaeWordsworth 1Y)
J. G. Whittier .. . tot
Robert Louis Stevenson . . f <la! nor 131
Alice E. Allen I .( 1-3 So
M. I. Baum 27)
113 10
1 i 5 37
Celia Standish C. S. (...prarte s6 ia
NI I. Baum j -twiner 41
Winthrop Packard . . Ft ederrc 1 .el I ';ul.',Ir 1 139 an
Alice E Aden C. B .1*.iniondJ 33
Nathan Haskell Dole . . . A' I ryriyir S9 l' 1
S C Poster S C 1,.,,er 153
Nature', GoodnightNever say Fail .
...,..) New N ear's DaysNghtfall
-Nobody Man, The7
r)ttoburrz r-M1 Cock. The4. Old Folks at Homea Old Glory . / ..
....i Moon In the \ gnti On tne Traini 0 Tim, Boat
f ettr CountryOur Countr)'s heroest)ur :..., tool HagOver :he seaOwl, The
If
3
Ittrty, N. Sor'-, ...tortPeaceful Nignt ...........C'easant Voyage, APretty P:geon .
,(.Piss." W,Ilow .... ..'ass!, Willow
.
.
sot. WatermanJean InuelowCelia stanthshKai benne R He!, man .
4 Pt ,1 zr,
T i'lfo, ,cr/j / A',.r. I ir it
. Ka:her-we .1 Nen nh.n
i Zr:Z
t - 3
t o;
137
i 33
36
70
44
52
52
r., rman 109 34
ii c,l, Ar , t 4 o
Celia ',tannish . ,trpia,r,i I so 4 i
German 7Ir.r I! 1: .-1 /,',.,,, 4 it,-) 73
Louise Vaughan D J Ile,s 6.....,
Louis C. Elson 2:7
. ndrea-Elmia 1. 4 30
, Ru...e Miles . . ,4e I'.') 32
1.:zabeill Fouilse . , i ,V1, I 57
Mary -sianhope . ...... fir 'awes 1,)1 31
b,e Fatwell Brown ; (4 37Rain
n
BEST COPY AVAILABLE,NENsmimmirammemm
270 INDEX OF SONGS
line .kUTHOR
Ram Harp, The Frank Dempster Sherman
Reasoning TogetherRobin s fourneN, The Celia Standish . .
i Tr, from the Germani'.)se. 1 'le
.
by A bbte Firweil Brown ,t 1 k )
Santa :,:aus Celia Standish
,ea. 't hesee saw , Mary Vaughan
Snorter, The . .. .... M L. Baum
2,Katzn4
Sleeping Snots-Drops . Celia Standish
SIhmt..er -song Cans Brook .
snowSnonlill Battle. .\ . . Celia Standish .
snos flake, A. song story Mary Stanhope .
`30metimit Agnes Lee.tsong-Bird's Fareisell, The H von Faliersleben
Song of the Bells .
Song of the March Wind \lice E. Allen
Song of the Tree M. L. Baum
Song of he Top:nider Tailor, The'mingspr:IN .s (....om.r.g English
npri: .4 ong Louis C Elson
"squirro. flee - Well Spring"
',tar. The . \nonymous
Star; anonymous
stars . . s. Nathan Haskell Dole
Star, and Flow2rs Mary Stanhope
Star Spangled Banner Ti:e ,7,incis sc)ct 1:,:s
.'2.ory A Frank Dempster Sherman
z,urtuner 1 out Nathan (1.1.si,.ell Dole
.'"umni:r Day, Lows C Elson
Sunset Mary Stanhope
sunn"-e Anonymous .
3u ml.. %-,
'n%eet and 1,,),,v Tenn)5011 . .
'rt,n,7, ;'he . Robert Louis Ste%enson
Z`.,A. a14,ng Mary Stanhope . .
.r! ',r -one, T:le , .11)Ine Farneil Pro in .
1,0 kJ. p-oti :.r Samuel tr t..,00dttcli
rra, ,sg...Tr,7, D.,,, Mary atanhope
T1 0: .-..: . ivz; sol`2, L.dia Maria C:Iiirt
Thlnhs:: 1 , ru: -10r.6-:.Mary Vaughan
T. it, 4,' it I'd .)0 \ nonymous
T., I C ,1I outs (_,. lson .
I', i s'1.- V r 1I.utru
-7,-,. rli. ',ton, 1 - . e , goes I ee .
------..L:... '. ry >,2,ain
, r .
I , ii...-_-. 7 sink;e, I,,zie :rat , jane TX. 'or .
,,'I l!lid,,t ,i Snow Grrride T 11 .ath
C.,M PO,IIR
Teachers'Ed
I'age
?upilaEd.
Page
. . fienry "lolden Iluis i60 67
113 40
W W t.://, irtrt
i Roo:re ./,,,,13
.
191
:43
','9
88
13
Gounoi 26o
/inter Stanicy 18
C Curia! r
Henry Pul cell 196 93
(" S C "taut `,3 tsl It- (;,/,/,,,st 205 to7
//,try K /./thilei 53 Is. S C CoAt So 20
.Sc qubert 2f.)
fames Stantei,,,' Cerslutch
,-10
166
20
71
194 9tt... B &futon,: 230
Get m,tte 34
.4 S Nike 103 29
R S Church 82 ts.4 S Catty 243
T E ,,lf,r,e// 106 31
Chopin 219
71 7
Germ 1:2 42
Julius Andre 113 39
it.' ;ff c;i:cirtst 33 19
..V,.1 tiAert
Samna 4 Yu .1a :09 112
Gco. A rt tzte 30 14
1:6 441fendelssohrt 249
, Grzer 259
I R. ireA-erizu 74 9;1' E..1^' /clan 64 2
, gar,rny :331/ White 1:7 45
.' itnato,i , fide 11
Frederre rte.,' Br, i':,-L2 1 i 6 3a
.V S C.,,zse 65 3
C I; L.,Intort,ts 1 to
7e() / P, 'isle 15t or
AI, :f ; I ::, Hit 72 a
Fred,- t. .-,,,' t Sm.' r, i 3
, Day .... . l'dna .
Green. The lane 'avior
(.../q: 8, ?hie,'
A' if 1,1 teas
251
229
Fre,:erl, I 14.1 Thliar r 73
. (.7e., ,1 Veir :Pe 98 20
. C /1 Lciw,t,r; . 55
Geo I 7", zz.te 91 2t
C::,..7.-qe C Ifvent 1/4 34
.0 tut A' !fel °Ian 22
t;ertrrau 62 t
BEST COPY AVAILABLE
.3
INDEX OF SONGS '271
Tzma Au-nina
Violet, The Jane TaylorTr from Goethe
Vtole:, The i by Abbie Farwell Brown .
Voice orAiliftes, The Anonymous
Wanderer The Old English
V astungton's Birthday "The Youth's Companion"
Water Mill, 1 he Ad by Rose Miles
', Water Sprite, The Louise Vaughan
Weicame ',Li'. . T D MillerWit... Robin Told George Cooper
When \t', Mother Sings Louise Stickney
'When the Cluldren Go Celia Standish
W hen the Day is Nearly Done Gabriel Setoun
When the Fair Spring Blooms Nile:a schatf), fr
Where to all the Daisies G,' , Anon\ mous
1/4.,Vhite Bits of Down . . Mary Vaughan
Teachers' Pupils'COMPOSFR
A' 14, I, e i h
FdPage
III
Ed.Page
35
? tetiwre 245
Frank 6 <.,:::1:lla.1 139 87
C.' /.: Ci.itnc:ii 15 24
Fre imc I :%i fi vita, d 179 Si
!.rtts Diehl 21
V." ,t.rtc, a -47 4
../ I. 8vii` 122 4,a
Fanny .Y" Knowtion 32
Dr, i-tik :50S,,i ri 1,111,111 :;6F Am ie.,: 120 40
1 ,,r! / ran: 232
Wartim I ;?n,,t,Psolt 30
A 1W11111 I 5o 6t
-Ahv > . ,11'1 .1 il .1 ICe.ich 102 29
Wind, The . .Robert 1.01.115 Stevenson Frederh- I Itld Fili.',,,-,i 1._;,) 51
Wind. The Caroline A. Mason (5,J ,I I -eaue ^5 to
Winds. "Die 1t, L. Baum II Armes 195 92
Wind's zring, The M A L Lane F A nc(ei: 177 79
L r 71:Z; 23275\Vin:,,r!,t :Thmer, Th.: rohn B Tabb .
Winter ' uYe Song Germ-in
W.nie l..3.ii.iby Mary Webster rzubert :7
c Frank Dempster ShermanKenn Standish
L Garnor 167 72!-'l!:::)..: Tir, ntrIon ;52 62
V. 01 .., , lasic. The Gabriel Setoun Frank C., Carden:an 107 321.17,eniz 1 s ay
BEST
Natural Music Course
MELODIC -
SECOND READER
BY
FREDERIC II. RIPI FY. ,PRINCIPAL Oh VIR LoNGFELLoW SCIlooL. UoSTON
ANO
TtiomAS TAPPERL.IiClitithR ON MUSIC Al TOE INsfITUTh oh MUSICAL ART
OF TIM CITY OP NSW IURK
NEW YORK ... CINCINNATI .. C IMAGO
AMERICAN BOOK COMPANY
CI "
INDEX.
MIL POUT us SOUK( a. Our Mani Old Souses1 America . . Rev. S. F. Swills ... Henry Carey10 tied Time . . Mildred Travers Anderson Daniel Protheroeis Bingo was his Name l'opular Melody1 Birdie's Valentine .. Sophia S. Bixby . Fannie L. G. Cole4 Catch Me . . . . . . . .Ellis IV ulton ... . ...... . H. B. Addison
Cheer Up Eva Best . .. ........ ...i0 Chorus of Spirits .... George Parley Charles Funtegn Alanney2 Christmas Day ... ...Alfred Scott Gutty B. L. MartzI 6 Christmas Hymn, A .. .. Ile. A. Hunter. Duane Street10 Christmas Song . ....Adolph Moraht . Caroline W inchern2 Cottager's Lullaby ... . . .. ..... W W GI/atrialI Cradle Song .. . ... . . ...........3 Cricket The .. ... .. William CowperO Dance
Cricket,. . Sophia S. Bixby. .. . .
.. . . . German Folksong. Anna Johnson....... . .14 onnie L. (1. Cole
O Dandeli .... sin time (!ruse .. .. ... ..... ... ..... . ... . Grace Wilbur Conant4 Day Dawn ....4 Ditfults .. Lady Arthur Bill
Dusting Day .Mildred Travers Anderson, Daniel ProtheroeEvening .... .Ev g
1 Evening .
I Evening Hymn .. .. ..... .. Franz Abt1 Evening Star, The .. Ilofbin ..... Von Falleraleben Hobert SchumannI Eveilsonie Hamlin E. CogswellI Ever Faithful . . ...$ Fairy Painter, The Walter 11. Aiken$ Fairy Ring, The .
. Old TuneI Flowers, The .. ...... Iti.he,t Louis Stevenson Carl &ow( leFor Absent Friends .. .. . ............ .. .. A. Mary A. N. DobsonFox and (looseGaelic Cradle Song . J. 11. //ohnGerman Mehaly, A. Frans MuirGiving l'hanks(lad Quail Col bia . Rev. Belay C. McCook ... . George B. NevinGood-by, Good-by toSimple' ..... ...William Allinglomi .1 ithur Horton
Otani Morning, Iti'ibin .('harks E. Jackson .. William Arms FisherGood Night .. . ... F. A. MuthHedge Roses . ... .Translated from J. W .Franz Schubert
von Omit leHubby !form .. German. FolksongHot Crows Btu's . . ... .. . ........Industry . . . . . Swedillt FolksongIn the Joyous Spring ....E. .1. Gill ..
142 Mel Second Rd
Pao..117 IL is not always May ... .11. W. Longfellow
German 'Aeons34 Lady-Bird.133 laughing with Sunlight J. A mire64 foaming to Sing89 Little Boy's Dream, A67 Little Doves, The . . . Rev.
.
John Henry HopkinsII, L. HeartsJ U Million]106 Lullaby. J. U. Nakn38 Lullaby Song Lucy Creemer Peckham..
23 MarchingWalter II. Aiken30 May Thne
Jolts Hyatt Brewer70 Merry are the Bells88 Merry is the Gypsies
Frans ReiffLife .... . A J b'oxwell116 Mill, Th. Miss mom, G. W. Chadwick98 Months, The KintliColeridge
109 Morn, The. James Sneddon.97 Mo g Bells .66 Morning Ilnuks, The Felix htendeissuhn-Bartkohly76 Morning Song
Geoive B. Nevin136 Morning HongGerman Air82 Mower's Song, The
83 My Creed . Eben E. Rexford60 My Little Pussy W. A. nodoidon
Cart Warmish&31 Norwegian Melody, A .77 0, Bun, Bunny 1.abbit
White Carl Reineeks
90 October Chat, Ali .... . Edith Austin
8 Pirnic, The Florence 'loam Joseph L. Roeck;`69 (hit. of Doors .
Del Preiheros18 Pirate Story .. . Robert Louie can:weaponJosanieph L. Roeckel72 Playtime
14 Primroses . II. L. Martsof Spring39 Return
.J. lieble139 Rainbow, 'Me
98 Robin, The Harriet Fairchild 1114sIgclt Margaret kulliven Lang61 Rabin Redbreast.... Old Cradle Song
hristene Wood Didlivinkls131 Sailor Man, The)Cart Reineeki82 Singing.... ... . .1toliert Louis Stevenson
127 Sleep Little Child .... Words adapted front the French B. Mansell Ramsey93 Slumber, lovely Child94 Snow, T n.he . Flan 'loa Dr. Charles Vincent
Frederic 11. Cowen18 Snowflakes ..Grace, Wilbur Comma28 Snowflake Daum, The
Anna Johnson49 Snow-Time .
118 Song of the Snowflakes .ArunFelix Meruklesolin llartholdy62 Spring's Greeting
97 Stars, The II. L. Hearts78 Stream, The . . ... . Byron Williams89 S ..... mer Days92 Su cr Days are Com-
ingMel. Second Rd.
fear on dadatt.
143
Oorroosa oa BoNica.
BEST COPY AVAIL11E.cati
I II
rAus.119 Sing Ivy103 Summer :An, TIM .
3 Summer-Tune28 Satirise Wakes the Lad.,
. .110 Thanksgiving . .
44 here was nu Ohl Wu-111a11 Of I AY415
109 Thy kingdom Collie15 Twinkle, Twinkle, Little
Star73 Violet, Th...68 Waning Moon, The ..
140 Washington48 Welcome tel You, Birdie74 What Does Lita birdie
IN
roar an Soma Y.. CoUrooKR OR Soma K.Nursery Song . .11. L. lluniz
. blary Hos ittWdLRm Allingliani Charles Fonleyn ilanney
.4111ristain tieuigina Rosati ..... 11. Clough-Leigh:es
. Anon Ada J. Ala, se
John Hyatt BrewerFialickl It Bevel-gal Alberto Randegyer
Jane Tolor .1. W. ElliottAdolph 81 knits (earl Ileinede
.1111 lugeluw . .. Charles Fonleyn AlanneyW . A. llodplonRichard Strauss
4rthur FoutsJoseph L. Ilueelcel80 WIWII LCAVVEI ADO . Florence (loan:
79 Whistle and hue .... Anon10484 Winter Breakfast, A Lady hell
7 Winter Song, A10 With Mother Florenee Hoare . . . . Joseph 1.. Rafael26 Work null Play French Air50 Yonder N'roin the Genoa,' of Lie tleahae II........ A niche Fellhensal
Mu. $4,0.0 R,1
7
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