Scan 18
Musical Courier 1906-09-05: Vol 53 Iss 1380, 1906
91 lines. Read by computer on 23 September 2026. Printed page 19. See the scan on archive.org.
1A LEADER IN PUBLIC SCHOOL MUSIC EDUCATION.
3No leader can remain on the same plane of information as those he leads. He must be above and beyond. His power as a leader is proportionate to his advanced knowledge, and to the use he makes of it. No class of people realize this more fully than do the leaders in our public school education. As all profitable music education follows exactly the same principles as other educations, the leaders of music teaching in the public schools are forging ahead, as fast as they possibly can, into the ranks of "music scholars."
5This advanced conception of their calling has evolved a unique musical institution in this country, unknown to the public generally or to musicians. As yet only in commencement stages, this new work is destined to grow rapidly and to reach a place of power and influence in the music field.
7The "Normal Conservatory of Music" is this new feature.
9The normal school proper, sustained by States in the interest of general education, has now come to include music courses in training departments. This is now quite general, in large cities at least. Normal music schools, outside of State jurisdiction, have also been established at various points. But the "Normal Conservatory" has come as a supplementary adjunct to the normal school, to teach supplementary knowledge of music, up and above and beyond that which is possible to the public schools, namely, the scholarly and artistic regions. Supervisors, directors, special teachers of music, profit by such to lift themselves into the place of authority, judgment and dignity demanded by their positions. What a superbly hopeful sign of the times!
11The ordinary normal music course includes all to be taught in the public schools—sight reading, dictation, etc., theory to a certain point, good tone, good songs, music lore and reverence (work yearly advancing). They include also methods, pedagogy, psychology, practice teaching, vocal music, etc.
13But, in the "Normal Conservatory," besides the above, are taught vocal culture, piano, organ, harmony, counterpoint, instrumentation, orchestration, etc. Vocal music theory, instrumentation, etc., are carried to a point as high as possible, and in the most thorough, logical and educative fashion.
15They include, too, "Training," "Model" and "Supervisory" departments of their own. Best of all, they are associated with, authorized and approved by the regular governmental normal bodies. Buildings, appliances, etc., are furnished by regular normal authority, and a small tuition does the rest.
17The "Normal Conservatory," then, is at present the highest educative point arrived at by school music workers. It has been reached at their own personal initiative, by their own educative spirit and energy, and in a world, so to speak, all their own. The ideal of the work is very high, evolved by steadily growing demand for culture. But very few yet exist. Of these the excellence, naturally, depends upon the intelligence and musicianly mind of the leaders. To maintain the "ideal," of course, it is necessary that, as at present, such leaders must always have the stamp and seal of approval by public school authority, in addition to that of the music world.
19Hamlin E. Cogswell, at Indiana, Pa., heads one of the most advanced institutions of the "Normal Conservatory" type in the country. Mr. Cogswell is a recognized and approved member of the educational music field. He has been always in the work, as teacher, as supervisor, as director, or leader of work in associations, institutes, etc. He has devised, planned and directed music study programs for thousands of teachers, till his own life is completely merged in such endeavor. He is now president of the Music Department of the National Education Association, and has institute engagements this year in Harrisburg, Somerset, Johnston, Franklin and Indiana, of his State.
21The "Normal Conservatory of Music and School of Fine Arts" is the name of the institution headed by Mr. Cogswell at Indiana, Pa. It has many original and interesting features. For instance, in addition to the advanced musical instruction above outlined, it has a "model school" of over 250 children, and in nine distinct school grades, taught by the "student teachers," under criticism, direction and supervision of Mr. Cogswell, of other competent authorities, and of four "critic teachers."
23Students who take the "supervisors' course" give experimental lessons in the "supervisors' class," directed and rigidly criticised by the director personally. They also pass through weeks of "observation" of teaching done by Mr. Cogswell and by other advanced and approved teachers. They also "supervise" the regular teaching in the regular normal school courses. Thus they become experts both in teaching and in supervision, while the study of extended information, same time, goes right on.
25Great care is taken in all this to create and stimulate musical inspiration and interest in pupils, in student teachers and in supervisors. Singers are trained to an advanced stage. Piano and pipe organ are made vital subjects. A $4,000 pipe organ has recently been added to the equipment. This is used by pupils and for recitals, chapel exercises and public occasions. The study of instrumentation is made applicable to the playing of school music by children already performers on instruments. Many school children of our mixed population are endowed musically and play certain instruments. Violin, viola, 'cello, trombone, flute, clarinet, etc., are accented in solo and ensemble work and as to literature. The intention now is to form a regular orchestra from the conservatory material. Drawing, manual training and physical culture are also taught in the school.
27Great success has crowned the enterprise. Graduates are sought for and retained at advanced salaries. The Conservatory of Indiana is near Pittsburg, one of the most promising sections of the country.
29A peculiar feature of all this work of school music, of all types and in all directions, is the impersonal unselfishness of those engaged in it and the harmony and hand in hand character of feeling underlying. No matter the originality, interest or devotion of individual spirit, each is always dedicated to the unit of the whole—music. There is always praise for the "other one," appreciation for the "other effort," and a general desire to excel each other in benefit to pupils, not in personal prosperity. There is no animosity, pulling down of each other, envy, jealousy or bitterness. That no study of an art of harmony can be accomplished under discordant conditions is a fixed sentiment in this beautiful educational field of music so well aided by our Government.
31This is one of the strongest evidences of the beauty, healthfulness and sanity of a system of education by which the teachers are lifted by the State out of a condition of competitive commerciality. It all speaks eloquently for the only logical, profitable education—that which is free and national.
33FANNIE EDGAR THOMAS.
35HAMLIN E. COGSWELL.
37MARY HISSEM
38De MOSS
39CLARENCE EDDY
40CONCERT TOUR, 1906-7
41ADDRESS ALL BUSINESS LETTERS TO
42LOUDON G. CHARLTON,
43Manager, Carnegie Hall, New York.
44EVERETT PIANO USED.
46DAVID BISPHAM
48SOPRANO.
49RESIDENCE: 106 West 90th Street.
50PHONE: 88064 River.
51After September 1st, with
52LOUDON G. CHARLTON
53CARNEGIE HALL NEW YORK
55Organ Concerts
56SEASON 1906-7
57Management: HAENSEL & JONES
58542 FIFTH AVENUE, NEW YORK
60WASHINGTON ADVERTISEMENTS.
61VIRGIL CLAVIER PIANO SCHOOL
62Director, GEORGIA E. MILLER
63118 C Street N. E.—WASHINGTON, D. C.—1329 F Street N. W.
64CLASSES. INDIVIDUAL LESSONS
66ADOLF GLOSE,
67CONCERT PIANIST.
68PIANO INSTRUCTION.
69Address: 1415 K St., N. W., Washington, D. C.
71OSCAR GAREISSEN
72Voice Culture, Recitals, Concerts
73Care THE ROCHAMBEAU, Washington, D. C.
75COLORADO ADVERTISEMENTS.
76MR. & MRS.
77WILBERFORCE J. WHITEMAN
78VOCAL STUDIOS: TRINITY M. E. CHURCH, DENVER
79In Europe Summer, 1906
80In Denver October, 1906
82MADAME MAYO-RHODES
83VOICE TRAINING
84Can bring out fully any undeveloped beauties of the singing voice
85Studio, Hotel Albert 17th and Welton, Denver
87WILHELM SCHMIDT
88(Leschetizky Pupil)—PIANIST—Instruction
89Summer Season, 1906
90COLORADO SPRINGS
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