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He came to Boston seeking a publisher and found it in the Handel
and Haydn Society, which, in 1822, not only published the collection
but gave the society's name to it. It met with great success, running
through many editions. In 1826 its compiler delivered a series of
lectures in Boston churches on church music which attracted such
favorable attention that he was induced to make his home in the city.
In time he became president of the Handel and Haydn Society, and,
when the Boston Academy of Music was established, largely through
his efforts, he was put in charge of it.

At this period began a movement to reform radically our entire

system of school instruction, and the moment was propitious for the
introduction of music in the public schools, a purpose upon which Mr.
Mason had set his heart. In 1830 William C. Woodbridge delivered
before the American Institute of Instruction in Boston an address on
'Vocal Music as a Branch of Common Education,' illustrated by
Mason's pupils, in which the lecturer, recently returned from Europe,
warmly advocated the cultivation of music as an essential element of
American, as it was of foreign life. One sentence of his lecture is
startling to us of the present generation in its inferential revelation of
the primitive nature of juvenile instruction in the United States as late
as 1830. Mr. Woodbridge, speaking of music being 'the property of
the people' in Germany and Switzerland, heard in field and factory,
and in gatherings for pleasure no less than in assemblies for
worship, added: 'But we were touched to the heart when we heard
its cheering animating strains issuing from the walls of a
schoolroom.'

Mr. Woodbridge was an enthusiast over the Pestalozzian method as

applied to instruction in music. He not only collected all the literature
he could on the subject, but even translated the more important
works and turned over the entire material to Mr. Mason. This wise
teacher experimented first with the method before adopting it. The
success of the trial made him an ardent supporter of the new system
of instruction, which completely overthrew the old custom of starting
the pupil off with a complete tune and correcting defects as these
manifested themselves. The Pestalozzian method is truly the natural
one, building up, instead of patching up. This will be seen by
examining its principles:

1. To teach sounds before signs (have the pupil learn notes orally
first).

2. To lead the pupil to observe and execute differences in sound,

instead of explaining these to him, i. e., to make him active
instead of passive in learning.

3. To teach one thing at a time—rhythm, melody, expression—

instead of a selection embodying all these elements.

4. To have the pupil master each step by practice before passing to

the next.

5. To explain principles after practice (the inductive method).

6. Analysis and practice of articulation of speech in order to use it in

song.

To apply this revolutionary method to teaching music was the central

purpose of the establishment of the Boston Academy of Music. It had
a useful career during the fourteen years of its existence. Mr. Mason,
like Mr. Adgate, of Philadelphia, believed in 'music for the people,'
and his generosity in extending this without considering material
profit kept the institution in constant need of funds until it gave up the
struggle and closed its doors in 1847.

The Academy was more than a New England institution: it was a

national one, in that music teachers in every part of the country
wrote to it for guidance in their work. And it left behind it the finest of
mmorials, the establishment in Boston, and, through Boston's
example, all over the nation, of music in the public schools, not
merely as a relief from other studies, but as a study itself. This
innovation was made by the city fathers of Boston in 1837, after a
trial of the propositions had proved successful. T. Kemper Davis,
chairman of the school committee, made a long and learned report
upon the subject which is a classic of its kind, and as such may be
read with profit by teachers of music, particularly those in the public
schools.[56]

Music in the public schools of New York had an independent origin.

In 1835 Darius E. Jones experimented with the idea of forming
singing classes in the schools and teaching them without
compensation. The trial was successful, and the school board gave
him permission to continue the work provided no expense was
incurred and regular studies were not interfered with. Music in the
New York schools was not effectively recognized by provision for
compensation until 1853. T. B. Mason, the brother of Lowell Mason,
introduced singing in the public schools of Cincinnati. Pittsburgh
began such instruction in 1840. Nathaniel D. Gould, a music teacher
and composer, claimed to have been the first to teach singing to
children in a systematic method. From 1820 onward he organized
such classes in New England, New York, and New Jersey.

The recognition by municipal authority of music as an essential

element of education has been ratified in the fullest manner by
national authority. Philander P. Claxton, United States Commissioner
of Education, addressing the National Education Association
convened at St. Paul, in July, 1914, asserted that music is of more
practical value than any subject of the usual curriculum, except
reading and writing, and with these studies, and physical culture and
arithmetic, forms the fundamentals in elementary education.

While in the later thirties colleges and universities were not prepared
to grant music a place in the academic curriculum, they began to
recognize it as an important element of culture, and to extend to it
their patronage. In 1838 William Robyn, a professor in St. Louis
University, formed, under the auspices of the institution, a musical
society called the 'Philharmonic' for the performance of public
concerts. These were well patronized.[57]

IV
The German immigration was in full force in the forties, cities such as
St. Louis, Cincinnati, and Milwaukee becoming the homes of great
numbers of this music-loving people. In the broad sense of the term,
they formed the greatest educational influence in music that the
country had yet received. It is said that wherever two Germans
settled in America they organized themselves into a Sängerbund.
Tyrolese and Swiss singers and bell-ringers began to tour the
country in 1840 and delighted Americans of every class—even now
they are popular in the Chautauqua circles. However, when, lured by
the success of the jodlers, really fine German bands, such as the
Steiermarkers, Gungl's band, the Saxonia and Germania, came over
in quest of American dollars, they met with consistent failure, and
were forced to dissolve—to the great benefit of American musical
education, for the individual members generally became teachers of
instrumental music in the localities where they were stranded. It was
only by playing dance music and popular airs that the bands met
with any success whatsoever. Gungl (whose 'Railroad Galop,' an
imitative composition, was the most popular in his répertoire) wrote
home to a musical journal in Berlin that music 'lies still in the cradle
here and nourishes herself on sugar-teats.'

The sentimental strain in German vocal music of the period made it

more popular than German instrumental music, in that the American
palate had been prepared for sentimentality by a saccharine sort of
psalmody and secular music which was being sprinkled over the
country by a second generation of Yankee music teachers of the
Billings order. Elijah K. Prouty and Moses E. Cheney were leading
representatives of this class. Prouty was a peddler, singing teacher,
and piano tuner. Cheney was a leader of a church choir. In 1839 they
organized and conducted a musical 'convention' at Montpelier, Vt., at
which, with shrewd perception of popular interest in novelty and
variety, they practised 'unusual tunes, anthems, male quartets, and
duets and solos for both sexes.' For the secular music they used the
'Boston Glee Book and Social Choir,' compiled by George Kingsley.
In order to attract the attendance of non-musical people, in the
intervals between performances short debates were held between
the local ministers, lawyers, and other prominent citizens.
In May, 1848, another musical convention was held in Chicago,
which discussed the general question of musical education and the
specific one of music in the public schools. Four years later William
B. Bradbury led a similar but larger convention. At this convention
the 'Alpine Glee Singer,' a compilation by Bradbury, was used for
secular music, indicating the strong influence which the elementary
sentimentality of German popular music exerted upon Americans.
Sugared American psalmody, flavored with German sentimentality,
and colored with a crudity of technique almost aboriginal produced
that sort of musical candy which we know as the Sunday-school
song. Bradbury was a pioneer in the composition and publication of
such music, although, to do him justice, the especially deleterious
coloring of the mixture was added by his successors, among whom
Ira D. Sankey and P. P. Bliss may be mentioned as chief offenders.
The collections of this school of musical composers must be
reckoned by thousands in editions and millions in numbers of copies.
Bradbury alone compiled more than fifty singing books, containing
many of his own compositions. Of these collections 'The Jubilee,'
published in 1857, sold 200,000 copies; 'Fresh Laurels' (1867),
1,200,000 copies; and a series known as the 'Golden Series,'
2,000,000 copies.

This flood of sentimentality, completely inundating the Sunday-

school, poured into the public school, and almost swamped the ark
of juvenile education in music which careful hands had just
committed to that great stream of popular culture. When music
became recognized as an essential element of education, it was
inevitable that the only available juvenile songs, those of the
Sunday-school, should be introduced in the public schools. Indeed,
the singing of anything in the schools was preferable to the entire
absence of song, and so this order of music, representing, as it did,
the popular taste of the time, marks, although we are loath to say it,
an important step forward.

Dr. Lowell Mason was the chief assistant at an event which marks an
epoch in American musical education, namely, the birth of the
normal musical institute from the so-called musical convention. This
occurred in 1856 at North Reading, Mass., where an annual musical
convention of the usual sort was converted into a school of a
fortnight's duration for instructing its members, particularly teachers,
in both musical theory and practice. The example was followed all
over the country to the great benefit of musical pedagogy.
Associated with Dr. Mason in this work of popularizing music was
George F. Root, who journeyed over the country conducting
conventions, lecturing, etc.[58]

V
During the second half of the nineteenth century the teaching of
music passed in large measure from the hands of single,
independent teachers into the direction of music masters associated
in institutions for class instruction, which are generally known as
conservatories, although this term in its European signification of a
large, completely equipped and nationally endowed school of music
is misleading. Indeed, the pretense seems to have been deliberate.
Dr. Frank Damrosch, in an address on 'The American Conservatory,'
before the Music Teachers' National Association at Oberlin, Ohio, in
1906, said:

'The so-called conservatory, college, or university of music ... may

be found in every American community.... It is usually organized
by an individual whose commercial instincts are stronger than his
musical conscience, and who, banking on the dense ignorance of
the average citizen in matters of art, offers what seems to be a
great bargain in the acquisition of musical ability in one form or
another.... There are many such schools which seemingly flourish
by the glittering, if empty, promises which they advertise. Some of
them confer degrees; ... one of the first musical doctor degrees
conferred by the director of one of these schools was on himself!'

While there are hundreds of conservatories of the class described by

Dr. Damrosch scattered over the Union, a number of institutions are
to be found which rank in thoroughness and comprehensiveness of
instruction with the best European conservatories. These have been
in every instance of slow growth, the most pretentious in chartered
plans having made early and signal failures in the province of
musical education, though some of them won success in other
musical activities. A typical example of this order is the Academy of
Music of New York, whose career is recorded in Chapter VI.

The earliest American conservatory worthy of its name is the

Conservatory of Music of the Peabody Institute, Baltimore, which
was founded in 1857. Its chief contribution to American musical
education has been the Peabody concerts, a series of eight
performances having been given annually since 1865. From 1872 to
1898 Asger Hamerick, the Danish composer, was director. He
organized an orchestra of fifty performers, which became, under his
intelligent training, a highly efficient instrument for the rendition of the
most advanced music. The programs of his concerts were formed of
overtures, symphonies, concertos, suites, and vocal solos. He gave
especial attention to works by American, English, and Scandinavian
composers, performing for the first time in America many notable
compositions, among them a number of his own. The good work of
the Peabody concerts, attracting, as it has done, the respectful
attention of foreign masters, should be a matter both of
encouragement and pride to those who have the cause of American
music at heart. It points the way to high attainment in our musical
appreciation and notable achievement in native composition.

The year of 1867 is notable in American musical history for the

establishment of five leading conservatories or musical colleges: the
New England Conservatory in Boston; the Boston Conservatory; the
Cincinnati Conservatory; the Oberlin Conservatory; and the Chicago
Academy of Music, later known as the Chicago Musical College.

The New England Conservatory was founded by Eben Tourjée,

whom Sir George Grove, in his 'Dictionary of Music and Musicians,'
denominates the 'father of the conservatory or class system of
instruction in America.' The nature of this system and its advantages
have been well expressed by Felix Mendelssohn-Bartholdy, who
said: 'The class system has the advantage over the private
instruction of the individual in that, by the participation of several in
the same lessons and studies, a true feeling is awakened; and in
that it promotes industry, spurs to emulation, and is a preservative
from one-sidedness of education and taste.'

Dr. Tourjée, in 1851, at the age of seventeen, formed classes at his

home, Fall River, Mass., for instruction in vocal and instrumental
music. In 1859 he founded a musical institute at East Greenwich,
where he greatly developed his method. In 1863 he visited Europe to
gain information concerning the conduct of European conservatories,
and upon the ideas thus secured he established the Providence
Conservatory of Music, and in 1867 the New England Conservatory
of Music in Boston. For a time he conducted both schools, then
devoted himself exclusively to the latter. From its beginning the
Boston institution secured the best masters available and gave a
maximum of musical instruction at a minimum of cost. It has sent
forth over the country thousands of accomplished pianists, organists,
and vocalists, and, what is even more pertinent to the present
subject, music teachers, trained in Tourjée's methods. After the
founder died (in 1890), Carl Faelten acted as director, until in 1897
he founded a school of his own for instruction in the piano. No school
of its kind stands higher in America.

In 1897 George W. Chadwick, the professor of harmony,

composition, and orchestration, was made director of the New
England Conservatory. For several years Mr. Chadwick had
conducted the annual musical festivals at Springfield and Worcester,
Mass., and his special attention was thereby directed toward great
orchestral and choral performances by the students, whose number
was mounting into the thousands. By the generosity of patrons of the
Conservatory, especially Eben D. Jordan, president of the trustees, a
large building was erected in 1902, containing facilities for instruction
superior even to those of European conservatories, and an
auditorium, Jordan Hall, whose large size and fine acoustic
properties render it one of the important concert halls of the country,
use as such being frequently made of it by visiting artists, to the
great advantage of the students as well as the general public. The
instrumental equipment of the conservatory is large, the collection of
organs, including the pipe organ in Jordan Hall, which is one of the
largest in the world, being especially notable.

The conservatory possesses one of the best working musical

libraries in the country, a unique feature being the choral library of
the Boylston Club (founded 1872) and its successor, the Boston
Singers, which contains many copies of manuscript treasures in
European collections. This library was a gift to the conservatory by
George L. Osgood. The Boston Public Library nearby contains the
Allen A. Brown collection of musical books and manuscripts, which is
excelled in America only by the Congressional Library at
Washington. Accordingly, the pupils of the conservatory have at
hand every facility for acquiring a musical education which the most
ardent student could desire. It is not surprising that among its three
thousand and more students every one of the forty-eight states of
the Union is represented, as well as a dozen foreign countries, even
distant Russia and Turkey.

The curriculum of the conservatory has been generally described by

Frederick W. Colburn in 'The Musical Observer' for July, 1913. Mr.
Colburn, after mentioning special features, such as the conservatory
orchestra of seventy-five members, affording the training and routine
indispensable to professional performers whose ranks it is annually
supplying, says: 'While the new is studied, the fundamentals are not
lost sight of. All the courses have been planned to avoid turning out
narrow and one-sided specialists. The management realizes that the
professional musician has need of very broad and very correct
culture. The students listen to lectures on the history and theory of
music from such authorities as Louis C. Elson and Wallace
Goodrich. The modern languages and English diction are taught by
experts, several of whom are authors of their own text-books. The
pianoforte instruction follows approved methods; it shows much of
the influence of the late Carl Baermann, one of the most eminent of
the German musicians who have settled in this country. The vocal
instruction is along the lines of the old Italian method which has
formed the voices of most of the world's great singers. The teaching
of the organ accords with the practice of the best German and
French organists. In all departments there is present the idea of
thoroughly grounding the student in the essentials of musical art and
of avoiding easy, ready-made and get-culture-quick methods.'

The Boston Conservatory, second in the list of five founded in 1867,

was organized by Julius Eichberg, a distinguished German violinist
and composer, who had been, since 1859, director of the orchestra
at the Boston Museum. This speedily won and long maintained a
high reputation, particularly for instruction in the violin, on which
subject Eichberg prepared a number of valuable text-books.

The Cincinnati Conservatory of Music was founded by Clara Bauer,

who still is active in its management, having charge of the home for
the female pupils. This was the first conservatory in the country to
establish a residence department—indeed, its group of buildings and
park-like grounds give the conservatory a truly academic aspect
possessed by few institutions of its kind that are situated in cities.
Miss Bauer, however, recognized from the beginning that the all-
important element of a conservatory was its teaching force. She
secured representative talent in the various branches of music from
the various European musical centres, thereby securing warm
approbation of the institution from foreign musical artists and critics.
The faculty now numbers sixty members; it contains artists notable
for excellence in every branch of musical arts and pedagogy.
General cultural studies, such as dramatic art, literature, and modern
languages, are conducted with special application to their relation to
music.

The Cincinnati Conservatory was the first to conduct a summer

music school. The sessions have been uninterrupted since 1867.
Attended largely by music teachers, they have greatly advanced the
cause of musical education in the territory tributary to the city.

The Oberlin Conservatory of Music, at Oberlin, presents so many

object lessons of musical pedagogy that it demands rather extended
treatment here.
In the first place, the institution had a natural origin: it was formed to
teach psalmody to a religious community and, in growing beyond this
limited field by adding one musical feature after another as the
developing taste of the people demanded, it typifies the history of
music in the nation. Secondly, the conservatory has a proper
environment. It was planted in a soil already enriched by culture,
Oberlin being the seat of a college distinguished for progressive
ideas and high ideals, the reaction of which upon musical work is
always inspiring—indeed, is essential to the highest achievement.
Thirdly, the Oberlin Conservatory has a proper organization. It is a
social democracy and thereby calculated to produce that free and
fraternal spirit which is the soul of art. Young men and women meet
on equal terms and there are no distinctions among them based on
wealth or nationality or even race, Oberlin having been the first
college to include negroes among its students. Lastly, the
conservatory has a sound program and is living up to this as well as
could be expected in view of the pressure exerted on all 'schools of
the people,' to supply immediate demands. It believes in constructive
work, in learning by doing. Thus it regards a practical knowledge of
the science of musical composition as necessary to an intelligent
appreciation of musical masterpieces, and to this end has
established a course in theory and composition which requires four
years of hard study and assiduous practice. The class system of
instruction is the one adopted as the chief method, it being
supplemented by private instruction.

Dr. Florens Ziegfeld, a distinguished German pianist, still conducts

(1915) the conservatory which he founded in Chicago—the last of
the five started in 1867—under the name of the Chicago Academy of
Music, and which is now called the Chicago Musical College. The
institution was burned out in the great fire of 1871, but with
indomitable courage Dr. Ziegfeld at once secured new quarters and
continued his classes. The course of study was steadily enlarged
until now it includes every department of music and the principal
modern languages, the faculty being one of the strongest in the
country, comparing favorably with those of European conservatories.
By authority of the State of Illinois the college grants music teachers'
certificates and confers musical degrees. The college is finely
situated on Michigan Boulevard, overlooking Lake Michigan and
Grant Park. It contains a concert hall seating 1,000. A student
orchestra of seventy members is maintained, affording practical
training in conducting and ensemble playing.

In 1871 a conservatory of music was established in Jacksonville, Ill.,

the seat of Illinois College. Its founder was Professor W. D. Sanders,
a leading Western educator, and its first director was I. B. Poznanski,
a violinist and composer who later became instructor at the Royal
Conservatory, London. In 1903 the conservatory was merged with
the college. The Cleveland Conservatory of Music was also founded
in 1871. It adopted the European conservatory method of instruction.

In 1873 Northwestern University at Evanston, Ill., became a co-

educational institution and at once established a 'Conservatory of
Music' that began, and for many years thereafter remained, on a low
plane of instruction. The university authorities, in the manner of old-
time monarchs, 'farmed out' to the director of the conservatory the
privilege of running the business for a percentage of the receipts,
and gave him a free hand and full responsibility. Naturally the
conservatory was conducted in a way to produce the greatest
immediate returns.

In 1891 Prof. P. C. Lutkin was put in charge of the conservatory. He

insisted that the title be dropped and that the school be made a
department of the university, directly under control of the university
authorities; and that its director should receive a full professorship
with a fixed salary, in order that educational ideals should not be
compromised by financial considerations. These changes were
authorized, and Professor Lutkin radically revised and extended the
curriculum to make it conform to academic standards. By 1895 a
four-years course was developed, to correspond with that of the
Liberal Arts department. The 'Department of Music' then assumed
the title of 'School of Music' and became a coördinate division of the
university, like the School of Law, the School of Mines, etc., with its
own dean and faculty. Its pupils, of course, retained all the
opportunities for general culture afforded by the college of Liberal
Arts.

In an address delivered before the Music Teachers' National

Association at Oberlin in 1906, Professor Lutkin said: 'The exact
point where general education should give way to the study of music
is a much discussed one, and we will not stop to consider it here,
except to say that we have placed it at the point of entrance-
requirements in the College of Liberal Arts. The fact that the students
are able to pursue advanced work in history of music, harmony,
counterpoint, analysis, etc., is of itself a clear index as to their mental
capacity, and places them, without doubt, upon a plane of mentality
quite up to that required of college students.' The music department
of the Northwestern University now ranks with the best
conservatories in the country.

Concerts have always formed the leading element in developing

American appreciation of music. The enthusiasm created by the
festivals conducted in Cincinnati by Theodore Thomas in the early
seventies led directly to the establishment in 1878 of the Cincinnati
College of Music by Miss Dora Nelson. The institution was planned
along the lines of European conservatories, with a close relation to
superior public performances in the city, the patrons of which were
patrons of the college. With a fine faculty the institution has retained
to the present the high reputation it won at the outset. Theodore
Thomas was the first musical director of the school, and among his
successors is Frank Van der Stucken.

Of the important Chicago schools of music the earliest was the

Chicago Conservatory, established in 1884. Quite a typical institution
is the American Conservatory of Chicago. It was founded in 1886 by
its present head, President John J. Hattstaedt, with the assistance of
several of Chicago's music-loving citizens. Its quarters were in
Weber Hall Building, corner of Wabash Avenue and Jackson Street,
which were retained for ten years, when the conservatory was
removed to the adjoining building—Kimball Hall, where it still
remains.

From a small institution it has grown to be one of America's largest

schools of music, registering about 2,000 students annually. The
faculty numbers seventy-five, and contains many teachers of
national reputation. A modern and thorough curriculum includes all
branches of instrumental and vocal music, theory and composition,
dramatic art, expression, physical culture, and modern languages.
Special features are: a complete and well-established Normal
School, a student's orchestra, a musical bureau and a carefully
arranged series of faculty and pupils' recitals.

In 1885 two conservatories, the American Institute of Applied Music

and the National Conservatory of Music, were established in New
York. Miss Kate S. Chittenden was the founder of the Institute, Mrs.
Jeannette M. Thurber of the Conservatory. Both are flourishing to-
day under control of the founders and with excellent faculties and
ample musical facilities.

The National Conservatory, because of certain philanthropic

features, is deserving of special mention as a type of institution
which is not wholly commercial in its ends, and which has prepared
the way for a type that is purely artistic in its purposes. It offers
musical instruction to every applicant without regard to race, sex, or
creed, the sole condition being that he shall give proof of a natural
talent for music; this instruction it imparts without cost to those
unable to pay.

The title of National Conservatory is formally justified by the fact that

it was chartered in 1891 by a special act of Congress, the official
home being designated as Washington. A far better claim to the title
could be based on the facts that names of even more than national
fame appear on the roll of its faculty from the beginning, when such
musicians as Rafael Joseffy, Camilla Urso, and Victor Herbert were
connected with the institution, down through Dvořák's brilliant régime
to the present day.
The Conservatory at its outset secured experts in special lines of
music as instructors. For three years (1892-95) Dr. Antonin Dvořák
was its director. Under his management liberal prizes were awarded
for original compositions, and the works, a symphony by Henry
Schoenefeld, a piano concerto by Joshua Phillen, a suite for string
orchestra by Frederick Bullard, and a cantata by Horatio W. Parker,
were performed in public concert. Under the direction of the
distinguished composer the National Conservatory orchestra
became notable not only for artistic excellence, but, what pertains
more to the present subject, for the superior training it afforded poor
young men of talent, and the places this enabled them to obtain in
leading American orchestras. This work, of course, did not cease
with Dr. Dvořák's retirement.

An institution incorporating in a systematic and substantial way the

public and philanthropic spirit which has called into existence so
many of our conservatories and schools of music is the Institute of
Musical Art of the City of New York. This is the model institution of its
kind in America; and, as there is promise that its example will be
followed in other cities of the Union, leading to the establishment of
musical education on a high and uniform plane, it deserves special
notice.

Recognizing that schools of music, inaugurated with fine ideals and

a sound program to attain these, have almost without exception
been forced by the need of funds to lower their standard and modify
their curricula to suit the popular demand for easy and flashy
courses, Dr. Frank Damrosch determined to found an institution
wherein commercial considerations would not enter. In James Loeb,
a New York banker, he found a patron of art in thorough sympathy
with the project. By a fund of a half million dollars, given in memory
of his mother, Betty Loeb, Mr. Loeb put the splendid idea into
concrete form, and in 1905 established and endowed the Institute of
Musical Art with Dr. Damrosch as its director.

The purpose of the Institute is to provide thorough and

comprehensive courses in music, each of which is planned to
include every study necessary for mastering a particular branch of
music, and all of which taken together cover the whole art. The
Institute is enabled to execute this plan inflexibly because it is
independent of tuition fees, since the revenue from these is
supplemented by the interest of the funds. Accordingly the fees have
been fixed at moderate and uniform rates, while no expense is
spared in securing the best talent available as a teaching and
training force.

The roll of the faculty contains seventy-seven names. The faculty

council which directs the policy of the Institute consists of the director
and five other experts. Since operatic and concert managers agree
that individual instruction and criticism cannot be too carefully given
in the case of students intending to make the performance of music
a profession, and, as this thorough system of education is equally
beneficial to the amateur, it has been adopted by the Institute.
Theoretical subjects are the only ones taught in class.

In addition to the direct personal teaching which the student

receives, he is surrounded by artistic and educational influences
calculated to broaden his general knowledge and culture and to
improve his taste and discrimination. The discipline which is an
essential principle of the Institute, and which is lacking in private
instruction, where the pupil often demands and obtains relaxing
modifications of the instructor's system to suit his inclinations, since
he is paying for his education, is of the highest value in developing
character. Students of an art which in its nature tends to
overstimulate the emotional nature need a corrective cultivation of
the powers of the intellect and the will which students of other
subjects do not so much require, since, from their studies,
intellectual development is acquired directly and, reason being the
governor of the will, control of this great moral force is indirectly
imparted.

Like the National Conservatory the Institute is open to students of

both sexes, irrespective of creed or race. The only demand is that
they give proof of general intelligence, musical ability and serious
purpose. Every regular student is required to follow a prescribed
course not only in the specific branch which he has selected, but, in
order to provide a proper foundation for this, in the subject of music
in general. The student begins the course at the stage for which his
attainments and abilities have prepared him, as these are indicated
by three tests: as to his general knowledge of music; as to his sense
of musical hearing; as to his vocal or instrumental talent.

The departments of study are singing, piano, organ, stringed

instruments, orchestra, public school music and theoretic course.
The courses are divided into seven grades, the last four being post-
graduate. The post-graduate diplomas are of two types, called
teachers' and artists'. For the teachers' diploma two grades of
pedagogy and advanced work in theory and technique are required;
for the artists', either two or three grades in theory, technique, and
ear training, according to the proficiency of the student, which is
tested not only by work done in the Institute, but by a public recital
before musicians not connected with the Institute. The work of the
seventh grade in the artists' course is confined to the study of
composition in the various forms of complete sonata, chamber
music, vocal forms, overture and orchestration. A prize sufficient to
provide for a year of European life and experience is given annually
to that graduate in any of the artists' courses, or in composition,
whom the faculty and trustees think most deserving of the award and
distinction.

The leading schools of music in Canada are the Toronto

Conservatory of Music and the Conservatorium of Music in McGill
University at Montreal.

The Toronto Conservatory was founded by the late Dr. Fisher in

1886 and opened in 1887. In the thoroughness of its courses and the
completeness of its equipment it ranks with the best conservatories
in Europe. In 1897 it purchased its present centrally located site, in
close proximity to the cluster of educational and public buildings, and
began the erection of the structures which now form its commodious
home. Its music hall is architecturally one of the finest edifices of the
kind and its auditorium is acoustically one of the most satisfactory
halls in Canada for chamber music and other recitals. It contains a
three-manual concert organ which is a masterpiece of Canadian
workmanship. The main hall is supplemented by smaller ones for
lectures and recitals and by practice rooms equipped with two-
manual organs. The musical equipment in general is ample and
comprehensive, meeting the needs of the 2,500 pupils in
attendance.

On the death of Dr. Fisher in 1913, Dr. A. S. Vogt, whose work as

conductor of the Mendelssohn Choir of Toronto is well known, and
who had been for many years teacher of piano in the Conservatory,
was advanced to the position of director. The faculty consists of 139
professors and instructors. It is almost exclusively British in
composition, in striking contrast to the faculties of leading
conservatories in the United States, on whose roll Continental
European names abound, often to the point of a majority. However,
many of the instructors have received their education at foreign
conservatories.

The Conservatory is divided into eleven departments, schools for the

piano, the voice, the organ, the violin, and other stringed
instruments, theoretical instruction, embracing harmony,
counterpoint, composition, orchestration, musical history and
acoustics, orchestral and band music, expression (including
education, physical culture, etc.), modern languages, piano tuning,
and kindergarten music method. The extremely practical elements of
this curriculum indicate the attention paid to the fundamental needs
of the public.

The Conservatory maintains an orchestra for practice in routine and

training for students sufficiently advanced to justify their assignment
to places in the organization. Frank E. Blatchford, of the violin
faculty, who is also concert master of the Toronto Symphony
Orchestra, is the conductor.
The Conservatory is affiliated with its near neighbor, the University of
Toronto. Students who pass the conservatory examinations in
musical theory are exempted from corresponding examinations by
the University for the degree of Bachelor of Music. In its desire to
spread at least a measure of musical knowledge and appreciation
among the people, the conservatory conducts correspondence
courses in musical theory, and, for the convenience of practice,
especially in the piano, maintains eleven branches in the outlying
residential districts of Toronto.

The McGill University Conservatorium was opened in 1904. The

Conservatorium, however, was then only in its experimental stage
and it was not until October, 1908, that the connecting link between
the University and the Conservatorium was completed by the
appointment as director of Dr. Harry Crane Perrin, professor of music
in the University. In 1909 the orchestra was formed, which was
composed of students of the Conservatorium, and in February of that
year they gave their first orchestral concert.

VI
Henry Dike Sleeper, professor of music in Smith College, a women's
college of the first rank, has made an interesting analysis of the
character of musical instruction given in the leading universities and
colleges where the subject is taught. He says that there are four
ideals of study:

1. Musical composition: Great emphasis is laid on this at the

University of Pennsylvania, and it is a predominant, though lesser
element in the schemes of Harvard and Yale.

2. Public performance: This is the chief feature of education in the

conservatories affiliated with, but not a part of the regular academic
course. These conservatories are founded largely in the West and
South, and are connected with colleges that either are for women or
are co-educational.
3. Culture: Amherst, Beloit, Cornell, and Tufts are examples of
institutions where the music courses tend chiefly to imparting
musical appreciation.

4. A balance of the three: composition, concerts, culture. Examples

of where this ideal of rounded development is sought for are the
women's colleges, Smith and Mount Holyoke, and co-educational
institutions, such as Oberlin and Ohio Wesleyan, and the State
Universities of Michigan, Wisconsin, and Nebraska.

In the light they throw on the status of musical education in American

universities the following authoritative statistics, the latest of the kind
compiled, are illuminating:

In a monograph on 'Music Instruction in the United States,' prepared

by Arthur L. Manchester after exhaustive inquiry and published by
the United States Bureau of Education in 1908, the enrollment of
students of music in 151 colleges and universities was 18,971, of
whom 5,257 were men and 13,714 were women. There was an
average attendance in each institution of about 125.

Dr. Rudolf Tombo, registrar of Columbia University, in an article in

'Science' for December 25, 1908, and January 1, 1909, stated that
from statistics supplied him by twenty-five leading universities, not
counting summer schools conducted under their auspices, ten had
departments of music and five had courses of music. In a total
attendance in all departments of all the twenty-five universities
amounting to 35,885, the students of music numbered 1,940, which
is only 5.4 per cent. of the total.

When the great popular interest in music, as exhibited by the

attendance at operas, concerts, and musical festivals, is taken into
consideration, this low percentage would indicate that the
universities are not adopting attractive methods of musical
instruction. Evidently the cause of higher musical education will be
more readily served by improving the character of instruction in the
conservatories, where enthusiasm among the students prevails, than