Publications of the University of Texas Publications Committees: GENERAL: FREDERIC DUNCALF MRS. F. A. PERRY J, F. DOBIE C.H. SLOVER J. L. HEN[)ERSON G. W. STUMBERG H.J. MULLER A. P. WINSTON OFFICIAL: E. J. MATHEWS KILLIS CAMPBELL C. F. ARROWOOD J. A. FITZGERALD E. C. H. BANTEL BRYANT SMITH The University publishes bulletins four times a month, so numbered that the first two digits of the number show the year of issue and the last two the position in the yearly series. (For example, No. 2901 is the first bulletin of the year 1929.) These bulletins comprise the official publica­tions of the University, publications on humanistic and scientific subjects, and bulletins issued from time to time by various divisions of the University. The following bureaus and divisions distribute bulletins issued by them; communications concerning bulletins in these fields should be addressed to the University of Texas, Austin, Texas, care of the bureau or division issuing the bulletin: Bureau of Business Research, Bureau of Economic Geology, Bureau of Engineering Research, Interscholastic League Bureau, and Division of Extension. Communications concerning all other publications of the University should be addressed to University Publications, University of Texas, Austin. Additional copies of this publication may be procured from the Interscholastic League Bureau, University of Texas, Austin, Texas at 20 cents per copy UNIVERSITY OP TEXAS PRESS, AUSTIN ~ University of Texas Bulletin No. 2937: Octo'ber 1, 1929 MAKING FRIENDS IN MUSIC LAND Book IV By LOTA SPELL, PH.D. lntenchola•tic Learue Bureau Divi•ion of Extension rlJBUllHBD BY THB UNIVERSITY POUR TIMBS A MONTH, AND ENTERBD AS SBCOND·CLASS MATTBR 4T THB POSTOFFICB AT AUSTIN, TBXAS, UNDBR THB ACT OP AUGUST 24. 1912 The benefits of education and of useful knowledge, generally diffuaed through a community, are enential to the preaervation of a free aovern• ment. Sam Hou.ton Cultivated mind ia the guardian geniua of democracy. • • • It ia the only dictator that freemen acknowl­edge and the only aecurity that free• men deaire. Mirabeau B. Lamar (Copyright by The University of Texas, 1929) TABLE OF CONTENTS PAGE Travelling into music land ·-----------------------------------------------------------------11 A guide book for your ears ------------------------------------------------------------------12 Bears and tailors and themes·------------------------------------------------------------13 The Wild Horseman----------------------------------------------------------------------------------14 Little Spinning Song_____________________ _________________________________________________________ 14 The Little Hunters------------------------------------------------------------------------------------15 Themes in painting, music, and stories_______________________________________________ 16 Meter in a theme____________________________________________________________________________ 17 The story of the dance_________________________________________________________________ 19 Studying dance rhythms___________________________________________________________________________ 21 March from Aida_______________________________________________________________________________ 22 March of the Smugglers-Carmen___________________________________________________ 23 Soldiers changing the Guard-Carmen______________________________________ 24 Recognizing a waltz_ _______________________________________________________________________ 26 Spanish Dances-----------------------------------------------------------------------------27 Moorish Ballet-Aida--------------------------------------------------------------------------28 Country Gardens---------------------------------------------------------------------------------29 Shepherd's H eY-------------------------------------------------------------------------------------30 Minuet--Bach -------------------------------------------------------------------------------31 Gavotte-Beethoven ----------------------------------------------------------------------------32 Glow Wormr--Lincke·------------------------------------------------------------------------------33 Slavonic Dances----------------------------------------------------------------------------------33 Nola-Arndt -----------------------------------------------------------------------------------------------35 The Orchestra________________________________________________________________________________________ 35 Families and friends in the orchestra _____________________________________________ 37 The String FamilY----------------------------------------------------------------------------------38 The Wood-Wind FamilY-------------------------------------------------------------------------39 The Brasses---------------------------------------------------------------------------------39 Percussion Instruments------------------------------------------------------------------------40 Overture from William Tell.__________________________________________________________________ 40 Oh Vermeland Thou Lovely (String Ensemble) ______________________________ 45 The Music Box (Wood-winds>----------------------------------------------------------------46 Songs My Mother Taught Me (Violin) _________________________________________ 46 From an Indian Lodge (Orchestra>-----------------------------------------------------47 Andante Cantabile (String Quartette) ------------------------------------------------48 Emperor Quartette (String Quartette>---------------------------49 Love Song (Orchestra) -----------------------------------------------------------------50 Meditation-Thais (Organ) ----------------------------------------------------------51 Berceus~ocelyn (Organ>--------------------------------------------------------52 Bohemian Girl (Vocal solos and chorus>-----------------------------------------53 INDEX OF COMPOSITIONS PAGE Andante Cantabile-String Quartette___________Tachaikowsky ---48 Berceuse-Jocelyn_ _______________________________Godard --------62 Country Gardens____________________________Grainger ----------29 Emperor Quartette___________________________Haydn --------49 From an Indian Lodge_________________ ________ MacDowell ___ 47 ____ az Gavotte ----------------------------Beethov.en Glow W orm_______________________________________________ Lincke -------------------33 Grand March-Aid11,________________________Verdi -----------22 H~art Bowed Down-Bohemian GirL_________Balfe -------58 Love Song-Second Suite_________________________MacDowell -----10 March of the Smugglers-Carmen_____________Bizet ------------23 ___ 51 Meditation-Thais --------------------------Massenet _______.Bach ------81 Moorish Ballet-AUl,a_____________________Verdi Minuet -------------­ -28 Music Box__________________________________Liadow --------46 Nola -----------------------------_______Arndt ------------35 Oh Vermeland, Thou Lovely______ ____________ swedish Folk Song_ 46 Overture-William Tell_____________R.ossini -------40 Shepherd's Hey________________________________Grainger -------30 Slavonic Dance___________________________________Dv-0rak ------------33 Soldiers Changing the Guard-Carmen___Bizet --------24 Songs My Mother Taught Me________________Dvorak -----------46 Then You'll Remember Me-Boumian GirL....Balfe -----------68 INDEX OF COMPOSERS PAGE Arndt, Felix__________________________________________________________ 35 Bach, Johann Sebastian________________________________________________ 81 1685-1750 Bizet, Georges.----------------------------------------------------------23, 24 1838-1875 Beethoven, Ludwig von__________________________________ _ ___ 32 1770-1827 Dvorak, Antonin--------------------------------------------------------------33, 46 1841-1904 Godard, Benjamin----------------------------------------------------------52 1845-1895 Grainger, Percy Aldridge__________________________________ 29, 30 1882­Haydn, Franz Joseph_______ _ _______ _________________________________ 49 1732-1809 Liadow, Anatol Constantinovitch____________________________________ 46 1855-1914 Lincke, PauL___________________________________________ 33 1866­ MacDowell, Edward·-------------------------------------------------------------47, 50 1861-1908 Massenet, Jules ~mile_________________________________________________________ 51 1842-1912 Rossini, Gioachino Antonio____________________________________________ 40 1792-1868 Tschaikowsky, Peter Ilich____________________________________________________________ 48 1840-1893 Verdi, Giuseppe·-----------------------------------------------------------22, 28 1813-1901 ANNOUNCEMENT This bulletin, written by Dr. Lota Spell, is issued as a classroom text in music appreciation. Each pupil should have an individual copy. The publication is sold at 20 cents per copy in less than one dozen lots ; at $2 per dozen; at $12 per hundred. Reduced rates apply only on single orders. For illustration, an order of fifty at one time and fifty at another does not entitle one to the hundred rate. You will find the rules and regulations governing this contest on pages 47-54 of the Constitution and Rules (Bul­letin No. 2922), and also suggested outlines for classroom study of the selections. Radical changes were made in the rules last year. Be­sides the customary requirement of recognition of selection and composer, there has been added the recognition of theme, measure, type, and instrumental tone. The student is not required to write the name of the selection and the name of the composer. The score-sheet enables the contestant to take the test without writing any of the infor­mation called for. It will be necessarY' to drill contestants with the score-sheet. Copies of this sheet may be had for 1 cent apiece, 35 cents for fifty, or 50 cents per hundred. The cost of participation in this contest has been greatly lessened this year by requiring fewer selections, and by skilful choice of the selections so that two selections may be purchased on one record. The revisions made in the rules are in line with the very latest developments in music memory contests. It is hoped that music supervisors and teachers having charge of music appreciation in the public schools will avail themselves of this fine opportunity to inculcate in their pupils a love for good music. The contest is merely a device. The test of one's work in this field should not be the number of 100 per cent music memory pins won, but the number of pupils who have won a deeper appreciation of the really worth­while things in music. ROY BEDICHEK, Chief, Interscholastic League Bureau, Extension Division, University of Texas. PREFACE This bulletin is the fifth of a series issued by the Inter­scholastic League of the University of Texas for the pur­pose of supplying teachers and pupils with material in story form to be used in connection with the musical selec­tions to be studied in the State Music Memory Contest for 1929-80. This contest will consist of two parts : first, pure music memory, as in the earlier contests; and, second, music appre­ciation, which involves the ability to follow a theme and count the number of times it recurs, to distinguish three or four elementary musical forms with their respective measures, and to distinguish the tones of the various or­chestral instruments, when presented in an unfamiliar com­position. In the music memory section, the contestant will be expected to indicate his recognition of the selections studied by checking on the score card the title and com­poser of each of the selections performed on the contest. Again it is urged that the study of these selections be made a part of the regular work for the whole school; and that only after all have received this instruction should the members of the contesting team be selected for special drilling. LoTA M. SPELL. Austin, Texas, September 1, 1929. TRAVELING INTO MUSIC LAND Today we are going to set out on a journey into a land where you are going to hear and see many new and strange things, of which you may never even have heard before. Everything new will have to come to you through your ears ; the sounds you hear will light up some pictures in your mind of people and places and things you have seen before with your eyes; in that way the sounds that you hear will also make you see. "What kind of things are we going to hear?" you ask at once. Music, children, music; but music that will tell you stories, paint pictures for you, and make you feel as perhaps you have never felt before, either happy and gay or sad and mournful, bright and dancing or doleful and trudging, up in the clouds with glee or down in the depths with woe. For music can make you feel even more deeply than a story can. And then you ask, "What are we going to see?" It would never do to tell you beforehand of everything you may see, but just to make sure that you are awake and on the lookout in order not to miss anything as yiou pass by, you may know that on the way as you travel into the land of music there will be forests and lakes and rivers, bears and horses and hunters, Indians and Moors and Egyptians, soldiers and smugglers and maidens a-plenty. And you will see the storm, and the sunrise, and the fire on the hearth ; the dance in the palace and the dance in the vil­lage; and you will feel some of the joy and the pain which others have felt as they loved and hated and died. All of the world is brought before you in music. You have never known, I am sure, what a great variety of sounds is to be found in the music which makes all these pictures for you. There are the different tones produced by human or bird voices, and the many varying tones pro­duced by instruments. This year you will hear a great variety, from the little piccolo playing alone to the combined voices of an orchestra or the majestic tone of an organ. Remember that a flute will probably tell you a very differ­ent story from that told by a bass horn. And you will have to use your ears to recognize each. Now, with ears alert for every sound, your mind ready to flash back pictures, and your heart ready to rejoice with the glad or grieve with the sorrowful, we will go on. A GUIDE BOOK FOR YOUR EARS In order to see everything you will meet as you journey into music land, you will have to put both of your ears to work, and also give orders to that part of your mind, where are stored many pictu.res of things you have already seen, to be ready for business. Since you have never traveled this way before, a little story may help to make the way plain. Once there was a tailor who lived in a town, and a very happy tail(),])' he was. He worked hard, but he sang as. he worked. Would you like. to hear the song he sang as he plied his needle? Here it is-(V20153). Let•s. play his song several times so that you will recognize the hapJ)y little tailor if you ever hear him again. Now what do yo\l sup­pose happened one day while he was busy sewing and sing.. ing? Outside of his door he heard a commotion, people talking loudly, and he wondered what caused it, but as he was not one of those who drop their work tor any kind of an excuse, he kept right on sewi:ng and singing the same happy tune. But-suddenly he looked up; then he dropped his work, for what did he see before him but a great big bear right in his doorway. For a moment he wondered what he should do ; then his eyes fell on his violin which he always kept close at hand. He remembered that often bears liked to dance ; at once he seized his violin and began to tune it, and then to play. But unfortunately he played too fast and the bear growled his disapproval. Then the tailor tuned the violin again and played more slowly than before, and the bear danced clumsily, but quite pleased with himself. Before long, though, the owner of the bear came to take him away. How that bear growled and growled as the chain was put on him ! But, in spite of his growls, he was led out; then the tailor returned to his sewing and sing­ing. Once more he stopped to hear the noise outside as the bear was led along; again he picked up his work and sang blithely. And away down the street the growling bear was being led away. Now as the music Of a Tailor and a Bear is played will you be able to hear all that happened? The tailor, the commotion, the tailor, the bear, the violin, the dance, the violin again, the dance, the bear led away, the tailor, the crowd, the tailor, and the bear led off. If you can hear all of these, you are ready to go a little further into music land. BEARS AND TAILORS AND THEMES The word theme sounds very uninteresting, and you won­der, no doubt, why it should be hitched on to such nice things as tailors and bears. Right1 here I must tell you that in music a theme may be the bear, the tailor, or many, many other wonderful things, whicft you would surely miss if you did not know about themes. In music a theme is a com­bination of tones, sometimes just two or three, sometimes a whole sentence long, which gives you an idea of what the composer is trying to tell you. You have heard the song of the tailor; now when you hear that little song you know the composer is telling you something about the tailor. When you heard the song of the tailor, you heard the theme of the tailor. When you heard the growl of the bear, you heard the theme of the bear. In the same way you heard the theme of the crowd and that of the violin. To be able to follow the meaning of music, you have to learn to listen to and recognize the different themes and their meaning. How many times did yuu hear the tailor theme? The bear theme? How often was the violin tuned? Perhaps you see now that themes are not at all uninterest­ing; music is made up of themes. What you need to know, in order to make them very, very interesting, is how to listen for them. THE WILD HORSEMAN In the music Of a Tailor and a Bear you heard such a variety of themes that you are beginning to think each new selection you hear is going to be more and more compli­cated. Let us see if you are right by playing the Wild Horseman. In the title the composer has suggested some­thing of the picture to you, but the music is going to tell you still more. First let us hear the theme of the horse­man. It is not very long. Let's play it over several times. Does it suggest a man on a horse that is standing still? If not, how is the horse moving, walking, trotting, or gal­loping? Could a picture tell you that? Now that we know he is galloping, we will listen to see how many times the theme of the rider is heard. Several times? Yes, but each time it does not sound exactly like the same horse; some­times it sounds so loud and real and other times so much more faint and ghostly. What kind of a story is the com­poser trying to tell you? Some people think one thing ; some, another. One story is that the theme which is faint represents the ghost of a rider, a phantom which passes before your eyes when they are closed. The loud, clear theme represents a live horseman who is actually galloping past, and can be seen with eyes open. Which comes first? How many times does he pass? How many times does the live rider pass? Here you have a piece of music made U') of only one theme repeated several times, and changed in ·character each time by being played by different instru­ments. LITTLE SPINNING SONG As soon as you see the title of this selection you know you may expect to hear a little whir continuously while the spin­ning wheel is turning. Have you ever seen people at such work, making thread from cotton or flax? As the wheel turns, the tiny particles are twisted into long fine thread. Sometimes the thread breaks; then the spinner must stop and join the broken ends as best he can. And there must be interruptions. More material must be brought in from the rooms where the cotton is carded. If the machinery is run by power, there are usually many machines at work at once; some are going all the time, day and night; but when a person turned the wheel, the spinning had to stop many times during the day. In this little piece you will hear the song of the spinner. Learn this well. If you have a piano at home, or can play on any other instrument, play it for yourself. The second theme may represent the coming of others bringing more material and their leaving with a gay word. And then as the wheel started again, the thread broke, started and broke again, and had to be fixed. After a pause, you hear the original spinning theme, followed again by the interruption of others; and, finally, comes a gay little conclusion to tell the work is finished. THE LITTLE HUNTERS Today we will go out into the forest with two little boys who wanted to be hunters. Long ago, when hunters went into the forest, they used to take horses, dogs, and horns, and there was much life and joy in the chase. These little boys knew just how real hunters did. Before they started, they blew great hunting horns which could be heard a great distance away. At first the two blew together; then one started off, but stopped; then both blew together, and off they went. Listen to the horn theme they played. In the next part you can hear them rushing along. Can you hear the gallop of the horses? But they must have be­come separated in the midst of the forest. To get together they blew their horns as at first. Again the hunt is on. Wildly they rush about after their game; the farther they went, the gayer they became. Can you hear the little echoes of the horses' feet just before the last big gallop. In this, you have two main themes-the horn, and the gal­lop of the horses-both of which you will recognize quickly. THEMES IN PAINTING, MUSIC, AND STORIES Now that you know what a theme is, we will talk a little about the difference between a theme in a picture and in music, or in a story. Take the bear, for instance. In a picture a bear may be white or brown or black; can music tell you that? Not exactly, but it can suggest color. In the picture, though, the bear is in one position, still, and there he must stay until the picture is destroyed. In music, he has a great advantage; he can move, slow or fast, soft or loud, in a dainty dance or in a sad march. The picture is there before you and you can sit all day and look at it; with music, you can't; it runs away from you. Music is more like a moving picture which keeps changing all the time. You can look at a picture and see what it is about easily, you think-that is, you can find the theme of the picture. You can also easily recognize the colors which make the picture beautiful. Those, you will tell me, we do not have in music. But, was the phantom horse quite the color of the real horse? Wasn't one more gray and the other more black? Play The Calm from William Tell. Does it sug­g;est a picture all black and gloomy or one of blue skies and green grass? What colors does The Storm suggest? Doesn't Meditation suggest wave after wave of pearly pink billowy clouds, lined, perhaps, with palest blue? The suggestions of color that we get from music is the result of the varying tone-color of instruments or voices. In stories, as in music, things can happen. People move, bears dance, storms break and end. Did you ever think about how words move forward in a story? They do not come out one right after another, one just as loud as an­other, or one word taking just as much time as another. Words, to tell stories, fall into groups, long or short, with pauses between, to give you a chance to catch up with the meaning. And some words are spoken louder than others to give them more importance. You must listen to the louder or accented words; the softer ones you may sometimes miss without losing the thread of the story. Even on a page, Making Friends in Music Land words do not follow each other just the same distance apart. They are grouped into small groups and larger groups, with marks between to tell you when to make a longer or shorter pause. The large groups of sentences are grouped into para­graphs, at the end of which you make a longer pause than between the words in a sentence. I have only stopped to tell you these things about words, because music tells its stories in the same way. Tones in music are grouped in large and small groups; between the groups are pauses to help to make clear the meaning. Some tones are loud; others are soft; just as words are when you talk or read. METER IN A THEME Music and poetry are alike in many respects, but the greatest similarity between the two is that in both there is a regular succession of accents. If you read Sweet and low, sweet and low, you do not read each word with the same amount of em­phasis ; you say Sweet and low, sweet and low, Winds of the western sea. We may not know exactly why we like the effect of such regular accents, but we do; and I am going to try to explain to you how we measure music by accents. You know a man, in order to walk, has to take each foot up and then put it down. Which do you hear more dis­tinctly, when he lifts it or when he puts it down? Yes, I am sure we can agree on that; the down is always the part we hear. Suppose after putting one foot down, you did not want to take it up right away, but wanted to get a breath in between ; you would then walk something like this : up-down-breath; up-down-breath, etc. Perfectly simple, isn't it? Well, all music and most poetry moves in one of those two ways; either up-down, up-down ; or up-down­breath; up-down-breath; but always remember that it is the down that is heavy. That down or heavy accent which comes so regularly that you know exactly when to expect it, is one of the essential elements in music and poetry. It is University of Texas Bulletin called accent. If the accented tones did not occur regularly, there would be no music. If you can think of music as moving regularly ahead like the film of a moving picture which moves by little clicks like this: click, click, click, click, click, continuously with every other click accented; or like this: click, click-click-click, click-click-click with every third click accented, you will then have some idea of what many people call "time" in music, but which should properly be called meter. Rhythm is still quite a different thing from meter. Let us examine the meter of some of our themes. On your score card you are asked to indicate the measure of some of the compositions, that is you are to measure the accents. Always start counting with the first heavy beat or click you can hear. Call that "one" and then count each beat you hear until another accented note sounds. If you count the number of beats from one heavy accent to another, you have the measure of the music. How many do you hear in the Grand March from Aida? When you can not discover the heavy accent in the melody, listen to the ac­companiment. Ofter the accented tone is emphasized more there. Although there are really only two kinds of simple meters, two-beat and three-beat, musicians have contrived more variety by joining together some of these simple forms of accent, and have made groups of four, six, nine, and even five, seven, and twelve between the heavy accents. Usually there are only two, three, or four beats. Whatever the series chosen, the accent appears regularly with the same number of unacented beats between. In writing music there is a way of showing just where the accent, the down of the foot, is to come ; a short vertical line, called the bar line, is drawn just before the tone to be accented. This line gives you warning that the next tone is to be given that special meter accent. Look at the theme of Andante Cantabile on page 49, and you can see how these lines are drawn. THE STORY OF THE DANCE Just when or how dancing began we do not know, but we are sure that a long, long time ago people discovered that it gave them pleasure to move their hands, feet, or other parts of the body rhythmically, that is, according to a certain scheme or pattern. To emphasize the rhythm they used to clap their hands or beat on hollow logs of wood. And we know that it was a custom in the Middle Ages for people to sing as they danced. We are not sure whether people danced before they learned to sing, or sang before they learned to dance, but for many centuries they did both at the same time and even clapped their hands or clicked the castanets to mark the rhythm. Rhythm is that element in music which makes you want to move, to clap your hands, to tap your foot, or to sing. It sets something inside of you going and the next thing you know, you are dancing. You must not think that rhythm is to be found only in music and dancing. Many of the wonderful things which happen about us every day, and which We can not under­stand, are splendid examples of rhythmic motion. The movements of the earth, the sun, moon, and stars, which produce the waves, the tides, the seasons, and day and night, are all rhythmic. Each moves by a certain pattern. You yourself as long as you live are working out several differ­ent rhythmic patterns. Your heart beats rhythmically, one, two; you breathe rhythmically, one, two, three, and you walk rhythmically, but each one of us has his own individual gait. Dancing is only another rhythmic way of expresing feelings for which words or melody do not seem to be sufficient. Of course you can dance without music, but you do not enjoy it as much. That is the reason that people long ago, when they did not have the many instruments we have today, had to be satisfied with clapping their hands or making noises by beating. We know that drums furnished the earliest form of instrumental music, and probably music developed simply as an accompaniment for dancing. If that is true, you can see how important the connection be­tween music and dancing has been. History tells us that only the countries that have encouraged dancing among the people have developed a high type of music. Did you know that dances grew up in connection with the work of the people? The shepherds, the reapers, the spin­ners, the shoemakers, and the hatters, each had dances char­acteristic of their trades. Dances also developed from games. Different countries contributed different varieties. One of the most interesting things about the dances that we know of today is that most of them grew up among the common people. Dancing was a simple and inexpensive way in which they entertained themselves in their spare time. Later, the nobility became interested in some of the dances and introduced them at court or among the upper classes. But folk songs and folk dances, from which most other forms of music have developed, were the gift to the world of the common people. All folk dances are very simple in form. They seldom consist of more than two themes or parts, but each is re­peated several times. Folk dances are excellent material for studying theme recognition, because each theme is so clear-cut and distinct that you can easily recognize the beginning of a new theme. You must understand all about dances if you want to understand music. There are few types which are not connected in some way with dancing. In the great sym­phonies and in opera, different forms of dances are to be found. In various operas many of the most famous parts are dances, such as the March of the Smugglers from Car­men, the March from Norma, and the Minuet from Don Juan. Many stories have been arranged as a series of dances called a ballet (bal-lay'). Frequently dances are given between the different parts of the opera, as the Ballet Music in Aida. Even in sonatas and symphonies dances are to be found. The March from Leonore is part of a symphony and the Dead March from Saul is part of an oratorio. (While a funeral march is not an actual dance, its form is that of a march, which is a dance.) The suite, a group of pieces grouped around one central idea, often contains dances. In the Carmen Suite, there are several other dances in addi­tion to the marches you study this year. If you are familiar with many folk songs and dances you have a splendid foundation for the further study of the great compositions of the masters of music. STUDYING DANCE RHYTHMS Every dance is distinguished by a certain rhythm or rhythmic pattern. To recognize a dance the first thing you have to do is to become familiar with the pattern by which it is made. Each dance has characteristic steps suggestive of the circumstances which it represents. The march is music which accompanies a walk. Its rhythm must be suited to that motion; it must not say to you, "Skip," or "Run," or "Sway." Since every step is made up of two motions, raising your foot and putting it down, or advancing one foot and then the other, march music must be in duple rhythm. It may be written in either two-beat, four-beat, or six-beat meter; but the tones are grouped in such a way that you only notice the two beats or the four beats. The general pattern of a march is the following: i t ;n ; w 1 ; n ; ;J or but there are many, many exceptions. In the grand march from Aida the pattern is only slightly different. The same pattern may be used for many types of marches. A march used for real marching is played moderately fast, and has something swinging and "catchy" about it. Is this true of the March from Aida? A march for a wedding is slower and more dignified; a funeral march is even slower. A march for fairies would be lighter and faster than that of ordinary people. A toy march is a composition which makes fun of real marches. Do you suppose songs ever use this march pattern? The song of the street urchins, the song of the smugglers, and the song of the bullfighter in Carmen are all songs written in march rhythm. The march is probably our oldest dance form. The first march music was that of drums; today the drum is still used with all kinds of processions. It gives "pep" to the marching of soldiers or other kinds of processions ; yet the roll of drums is suggestive of the march to the grave. There are certain types of instruments which are especially suited to marches; the brass band is the leader. The trumpet usually announces the military march, as in Changing the Guards, or the introduction to the March in Aida. Listen to all the marches you have to study this year and see which instruments are generally chosen. Are violins favorites for this purpose? The organ is often used for the wedding march because that is the instrument of the church and weddings usually take place in a church. What kind of in­struments would you select for a toy march? GRAND MARCH From Aida (Ah-ee'-dah) VERDI (Vair'-dee) The Grand March or Triumphal March, as it is sometimes called, is the music that is played as Radames (Rahd'-ah­maze) and his victorious army march into Memphis in Egypt. Ahead of them are the trumpeters playing long straight trumpets designed especially for this procession; then the Egyptian troops, followed by the victorious gen­eral who is borne under a canopy on the shoulders of his officers; and, in the procession, is the long line of captives who are either to be killed or made slaves, according to the commands of the priests. In the first part of the procession are many war chariots, and borne along by the soldiers are many banners and images of the gods whom the Egyptians worshipped. In this selection (V35780) you can hear the brasses to good advantage. Before the last of the Grand March is heard, many tragic things were happening on the stage. While Amneris (Ahm-nay'ris) is rejoincing over the prospect of placing the laurel crown on Radames' head and later becoming his wife, Ai'da watched the oncoming pro­cession with horror, for the conquered people were from her own country. As she looked at each face, she felt more and more desperate and hopeless, for she knew they would probably be shortly put to death. Finally among the Ethi­cpean slaves came a man dressed as an officer. Ai'da looked at him, looked again, and then, convinced that she was not mistaken, she screamed, "My father!" Her cry was heard, and soon all knew that the father of Ai'da, the slave girl, was among the prisoners. Radames, seeing Ai'da's despair, joined with others in begging for mercy for the prisoners. Finally the high priest yielded to their entreaties and per­mitted Ai'da's father to be made a slave instead of being killed. This merciful act did not please Amneris, who would have liked nothing better than to have seen Ai'da suffer at witnessing her father's death. As you hear the music, you can picture the approach of the conqueror, Radames; the haughty Amneris, ready to lay the laurel crown on his head; and the desperate Ai'da, recognizing her father in the train of captives, and yet lov­ing Radames, his conqueror. The Grand March is not diffi­cult to distinguish ; you hear it first introduced by the trum­pets and again just before the close of the selection. The whole scene on the stage is one of great pomp and mag­nificence, picturing the customs of a victorious nation many centuries ago. MARCH OF THE SMUGGLERS From Carmen BIZET (Bee-zay') Carmen was a gypsy girl, employed in a cigarette factory in Seville, who played with men's hearts recklessly until she was finally stabbed by a jealous lover. One of these was a soldier; another a bull-fighter. The first of these she lured University of Texas Bulletin from his post to a gypsy camp in the mountains, where a band lay in wait to smuggle goods across the border with­out paying the required tax. It is at the opening of the third act, while the smugglers are assembled in a wild, gloomy spot, making ready to descend the mountain, that the March you are to study is heard. The whole character of this music suggests the surround­ings of the smugglers and their state of mind. There is abroad an ominous atmosphere, as if something terrible were going to happen. In the weird light of a pale moon, the figures wrapped in black cloaks, move furtively about making ready for departure, but fearing the fate to which they are stealthily creeping. The leader, too, feels op­pressed by some secret dread, still he gives his orders to the men, but in a guarded voice. Attention, attention, comrades, all together! Fortune awaits us in the plains below. But be careful while on the way there, Be wary as you onward go. Can you feel in the music the stealthy movements and hushed voices of the robbers as they emerge from the cave bound on their evil mission? SOLDIERS CHANGING THE GUARD From Carmen In all places where guards are regularly maintained there occurs two or three times in every twenty-four hours a ceremony that is known as changing the guard. It is merely the coming of the fresh soldiers, their formation in front of the tired ones, and the retreat of those who have been relieved from duty. In the opera of Carmen, this act is made more colorful by the addition of a band of street urchins, who appear with the fresh troops, make themselves heard during the installation, and retire with the others. As the scene opens, a trumpet, followed by a military band, is heard in the distance. As the music draws nearer, the trumpet is heard on the stage. At this sign the soldiers who are on duty form themselves into a line in front of the guard house. Shortly the new guards come into sight. First the bugler and fifer ; then the crowd of street boys who take long steps to keep up with the soldiers. After these come two officers, one of whom, Don Jose (Ho-say'). is the man who loves Carmen so jealously that he kills her to keep her from becoming the bride of Escamillo, the bull­fighter. The chorus of the street boys which is sung in the opera is played in the Suite (sweet) by the orchestra: In order that you may know the style of the chorus of such street urchins, I am going to give you the words they sing: With the guard on duty going, Marching onward, here we are! Sound, trumpets merrily blowing Ta, ra-ta, ta, ta, ra-ta ta! On we tramp, alert and ready Like young soldiers ev'ry man. Heads all up and feet all steady, Left, right, we're marching on. See how straight our shoulders are! Ev'ry breast is swelled with pride. Our arms all regular Hanging down on either side. After the boys sing these stanzas, first in a minor and then in a major key, repeating some of them several times, the guard, which has been relieved, retires. Behind the bugler and fifer of the retiring guards, out march the urchins in the same formation in which they first appeared with the fresh troops. You will like this music for several reasons. It has rhythm; it is a good military march; and it is played by instruments, such as the trumpet, with which you are al­ready familiar. Boys always like military music. They do not always realize that some which is very attractive is to be found in opera. If your teacher will let you, you children can form the guard, the band, the officers, and the street urchins, and act out this scene to the music. RECOGNIZING A WALTZ The waltz is a much more modern dance than the march. It originated among the Germans and was for a long time a very slow and stately dance, but later it changed to a quicker tY.pe. A good waltz can be distinguished by a graceful, swinging motion. The pattern of the waltz is very simple-just three regular beats with the accent on the first. Here is the pattern of the accompaniment: Perhaps your greatest difficulty in recognizing a waltz will be that you can not depend upon the meter alone. You must not think just because a composition has three beats to a measure that it must be a waltz. Other dances have the same meter, but they have different accents and general style. The minuet which we are also to study this year is written in three-beat measure, but it is slower and more stately than a waltz. How many themes are you to expect to hear in a waltz? The number varies widely. You will seldom find less than three, but many ball-room waltzes are made up of many, many themes. Some of those which you will study this year are given only in part on the records. This is true of the Waltz in Ab by Brahms; only a small part of the whole selection is given, but it is enough for you to recognize that the composition is a waltz. Does not its swinging rhythm suggest the swaying of trees in the wind? Perhaps you can think of some other movements which this lovely music suggests. Only a small part of the Skater's Waltz is given on the record you study (21938). It may be secured complete on another record (35798). Enough is given for you to recog­nize the graceful movements of the skaters as they glide smoothly, joyfully, over the ice. SPANISH DANCES Of all the countries of Europe, Spain is especially the home of the dance. There is a reason for this. Spain is protected from the cold of northern Europe by the Pyren­nees ; the winds from Africa bring to her something of the heat of the not far distant deserts; and the warm Medi­terranean bathes her shores on the east and south. Where the sun shines, fruits and flowers grow, and the people are gay. Then the people of Spain have had as their neighbors for many centuries the Moors. Although there was no love lost between them, each absorbed many customs from the other. The Arabs, fathers of the Moors, liked to dance and made music of a peculiar type. This, in time, the Span­iards learned. Now it is hard to tell which was Spanish and which was Moorish. Before the rest of Europe paid much attention to dancing, Spain had many beautiful dances. Some of the early Span­ish dances were borrowed by the French and Germans, and the English. The more modern dances, such as the jota (ho'-tah), seguidilla (say-ge-dee-ya), and bolero, have been utilized by composers of many countries, but especially by the French and the Russians. You may be surprised to know that even some of the simple dances that are danced by the English were originally Spanish dances. Among these are the Morris dances, a word made from Moorish. These were danced long ago by the peasants in England who dressed in fancy garments and tied bells to their sleeves and ankles. Perhaps your teacher can show you the simple steps of this dance as it is given now. The Morris dance has changed so much since the English adopted it that it does not resemble very closely the dances that are danced in Spain today. The dances of Spain came to America in the sixteenth and seventeenth centuries, while Spain was the richest and University of Texas Bulletin most powerful nation in Europe. She called the ocean a "Spanish lake" and expected to rule everything in America. She did control, until the eighteenth century, all of South America except Brazil, and more than half of North Amer­ica. In all that territory the Spanish customs and manners became established and, in many regions, still survive. In connection with most Spanish dances the castanets are used. These are two hollowed pieces of hard wood which are held in the hand and clicked together with the fingers. The name is from the chestnut wood from which they were made. It is supposed that they were used by the Moors. Today they are used not only in Spain, but by all large orchestras when playing music of a Spanish or Ital­ian type. MOORISH BALLET From Aida VERDI Four thousand years ago the Egyptians were the most civilized people in the world. They ruled not only what is Egypt today, but a much larger country. It was customary in those days for a nation to bring back the king, his family, and the nobles of a conquered tribe as slaves. A'ida (Ah-ee'-dah) was the daughter of a king of Ethiopia, a country near Egypt. She had been captured and brought to Memphis, the capital of the Egyptian kingdom. Here she met Radames (Rahd'-ah-maze), a young soldier, and they soon fell in love with each other. Radames was put in charge of an army to be sent against Ethiopia; he was successful in the campaign and returned with many prison­ers, among them the father of A'ida. The king of Egypt had a daughter, Amneris (Arm-nay'­ris), who was accustomed to much attention. Her rooms were fitted up magnificently, her clothes were of the finest fabrics, and she was attended by hundreds of slaves. In her apartments many beautiful girls who had been captured in war kept the air comfortable by waving fans of huge pea­cock feathers. Some rubbed her with delicate oils and per­fumes, while other Rroups entertained her. One of her favorite amusements was to have a group of beautiful danc­ers perform while she reclined leisurely on a couch. The Moorish ballet is the dance that these slave girls per­formed for Amneris. The news had just come that Radames and the army would soon arrive. Now it hap­pened, unfortunately, that Amneris, too, loved the victorious leader, and she greatly rejoiced over seeing him and placing upon his head the victor's crown. While she was being attired for the triumphal feast to be held for Ramades, she sang to her attendants who answered her in chorus. Then the dancers filed in and entertained her while awaiting the arrival of the hero she loved. You will be able to tell at once when the song part stops and the dance begins. In the dance you can hear a suggestion of the barbarous music of the Egptians. The rhythm is strongly marked by drums and cymbals. In style and coloring this dance music is oriental; and, like most of the music of the East, it is writ­ten in a minor key. For the sake of securing her father's freedom, Aida begged Radames to become a traitor to the king of Egypt. He consented, but the plan was overheard by the jealous Amneris, who was incensed that the victor should prefer a slave girl to her. She revealed the whole plan. Radames was tried, found guilty, and condemned to be walled up alive in a vault and left to starve and die. This was done; but just as the passage to the vault was sealed, thus making escape impossible, Radames found that Aida had hidden herself in the vault to die with him. The curtain falls on the lovers, who see in death only a step to a happier world where they will be together. COUNTRY GARDENS GRAINGER The simple theme of this dance had quite a little history before it became the dance which you are to hear. Of its origin we know little, but it must have been danced in England may centuries ago, for it is to be found in a book of dances printed in the seventeenth century. In the nine­teenth century Cecil Sharp became i11.terested in these old dances and copied the music of this dance into his collection. Then Percy Grainger, a brilliant pianist, came along and found the simple themes, and from them developed for the piano a set of variations which he later made famous through his own performance. And from this piano ar­rangement came the dance which you hear played by an orchestra. If you can imagine the violins singing the solo parts and the orchestra acting as a chorus, you will have the general plan of this dance. From the simplicity of the theme as first sung by the violins, it becomes more composite in tone through the different instruments of the orchestra. And, as a final touch to the chorus of the whole, do you hear the clash of the cymbals? SHEPHERD'S HEY GRAINGER One day a shepherd, out in the meadows in England with his flock, felt so gay that he took out his pipe and began to play. And then so gay dlid he feel that playing was not enough, he began to dance. As the sounds of his pipe re­sounded through the fields, the other workers began to feel the same way; almost without knowing why, they followed the sound of his pipe. And soon there was quite a crowd of these rustic people joining in the song of the shepherd and dancing the steps that he was dancing. The orchestra is going to play for you the tune the shepherd sang and then danced and that the people also danced. You will notice that although the dance is quite long, it is made from only one short theme, which has been changed at the beginning so much that you hear two themes which both end alike. The theme that you hear at first is played over and over again, by different in:struments, until you almost convince yourself that it is a different tune. But it isn't; it is only the same little simple tune with some trimmings. The second theme you hear is of more marked rhythm. Listen to the great variety of instruments that play for you. At first the violins and viola give the theme; then the violoncellos and bass violins reply. After the string famil~ has had a chance to talk, the wood-winds come forward­the flute, clarinet, oboe, and bassoon. Listen to this bass of the wood-wind family; you do not often have the oppor­tunity of hearing it so clearly. And then the brasses come into the game; the trumpets, horns, trombones and tuba, all are here. After they have had their turn, the xylophone, that instrument with keys which are struck with little ham­mers, joins the rest of the orchestra. In the final repetition of the theme, there are also triangles and, beating along, constantly louder to the end, are the kettle-drums. You can listen and find out how many times the shepherd's theme is played by all these different instruments. MINUET BACH The minuet is a daflce which became very popular espe­cially in France and England in the eighteenth century. While it probably originated among the common people, it soon caught the fancy of the dancers of the court. For this reason, and because the minuet was first known in America in colonial days when the ladies wore long skirts and the gentlemen dressed in wigs, we are accustomed to associate the minuet with aristocratic people, who enjoyed themselves in a dignified way. The word "minuet" means little steps, and that is the kind the dancers take. There is a salutation of the partners and couples, a high step and a balance, but no whirling as in a waltz; the gentlemen merely touch their partner's hands while both indulge in graceful bows and turns. The minuet is, on the whole, a d gnified d:mce, more suited to the aristocracy than to the village people. You will have no trouble in distinguishing a minuet from a waltz, although both are written in three-beat measure. The waltz is smooth and swaying; the minuet crisp and up­right. The Minuet from Don Juan is a good one to study first; if you listen to a record (V21938) which illustrates both the waltz and minuet, you will hear the difference at once. Then you must study the Minuet by Bach (Bahkh) which is played (V1136) by Kreisler (Crys'-ler) one of the greatest violin players in the world. There is a clear-cut theme for you to learn to recognize ; there is a splendid ex­ample of violin tone; and a good example of the minuet. If you listen you can hear the tone of the violin when it sings in a low voice; then in a moment it has shifted to its higher voice. And at the end the main theme comes back to com­plete the whole. GAVOTTE BEETHOVEN (Bay'-tow-ven) The gavotte is a French peasant dance which later became popular in England. Among the peasants, it was, no doubt, a rollicking dance, as most country dances are, but after it was accepted by the ladies and gentlemen of the court, it became a dignified but graceful dance, which is danced in moderate time. The music of the gavotte is regularly in four-beat meas­ure. Each theme begins on the third beat of the measure. It may also be written in two-beat measure. Then the di­visions of each phrase would be something like this : ~1-~1~1 3 nl~1 HI~ \J,\JJ I \ . ti I ' I Like most other dances, in the gavotte you will generally find three themes. Of these the first is repeated most often. If you will learn the main theme of Amaryllis (V21938), when the whole dance is played (20169) you will be able to hear how frequently it is repeated. Then listen to the Bee­thoven Gavotte (V1136). There you have the regular dance form with three parts, the first repeated most often, and a short conclusion which is termed a coda. THE GLOW WORM LINCKE The Glow Worm is included among the composition you are to study this year, not because it is by a world-famous composer, not because somebody thought you should learn it, but just because every child who has heard it has en­joyed it. Perhaps you have already heard it in the picture show, for it has been used with many screen pictures be­cause everybody likes it. The composer is a German musician who lives in Berlin and has written much other music of a popular type; but of all of his compositions Glow Worm seems most likely to hold a permanent place among the children's favorites. The main theme of Glow Worm is a dainty gavotte, a dance that can be adapted to simple steps for the play­ground or the gymnasium. The rhythm is contagious; the melody is easily remembered ; and you will find yourself humming Glow Worm before you think you know it. The song part also has an infectious melody which the simple accompaniment, in imitation of a harp, makes even more effective. The other theme, also gavotte-like, has been made into a song, which children all over this country sing with joy. The words are: Shine, little glow-worm, glimmer, glimmer, Shine, little glow-worm, glimmer, glimmer, Lead us lest too far we wander, Lead us to paths beck'ning yonder! Can you hear the echo of the word glimmer, faint and delicate in the distance? SLAVONIC DANCE DVORAK (Dvor'-shak) The Bohemians, like the Poles, are people of the Slavic race. For many centuries both have been conquered peo­ples, ruled by powerful monarchs of the countries nearby. Poland was divided between Russia, Germany, and Austria; Bohemia between the latter two. Because they have been forced to obey a foreign power, to use another language, and to adopt, to some extent, the customs of the ruling na­tion, there has crept into their hearts a certain sadness, a hopelessness, that is quite pathetic. There was among them, however, such a strong national feeling that they were never willing to submit patiently to being ruled by others; and, as a result of their determination and the World War, both Poland and Bohemia became independent republics. Bohemia is called Czecho-Slovakia, which means the land of the Czechs and the Slovaks, or descendants of the Slavs. Naturally, the Bohemians were gay in spirit. They en­joyed life, music, amusements, and dancing. This natural characteristic the people did not entirely lose, even during the many years of foreign domination. A note of gayety, contrasted with one of sadness, forms the basis of the Slavonic dances, which represent the two sides of the Bo­hemian character. At one moment he is a hopeless crea­ture; then without a moment's warning, he forgets his troubles and is a gay and care-free dancer. The dance you are to study (V1414) begins with the sad theme; then changes, without a moment's warning to the gay. But not for long; the sad theme returns for a few measures, which are followed, perhaps, by a sigh of regret at the fate of his countrymen. Once again the sad theme returns; but this time the sadness is not without hope. In it there is a suggestion of fortitude, of determination, not to give up. The gay theme returns for the last time only to subside gradually into the sadder tone. But the dance is not to end thus; before the last step is taken the music soars again upward to the final note with a rush of joy. Dvorak (Dvor'-shak) wrote several of these dances, marked by the sudden changes from sad to gay. Such changes are characteristic of Bohemian music. Dvorak is especially well known as the composer of music which is marked by strong nationality; that is, it can easily be dis­tinguished from the music of other countries. Kreisler re-arranged the melody for the violin. In his arrangement the great violinist has taken many liberties which make the violin number sound quite different from the original piano music. NOLA ARNDT Do you know what a "silhouette" is? If you don't, look it up in your dictionary, for you can not understand what the composer intended this composition to represent if you do not know the meaning of this word. He described Nola as a "silhouette for piano." To understand why he used the word "silhouette," you must know that Nola was the name of his wife. In this dainty composition he has tried to give you a tone-picture of his wife as he saw her mov.ing about day by day, dainty, tripping, glad and joyous, with, perhaps, just a touch of kittenish mischief. On her birth­day he laid this gracious offering before her as a gift to make her realize how much he thought of her. If I am not mistaken, you will like Nola as you like the Glow Worm. As you listen to it, what kind of movements does it suggest to you? Walking? Marching? Or do you suppose it moves as the original Nola moved? Is there any part of it which suggests graceful swaying movements? Do you feel any difference between the rhythm of the first theme and the third? This is a dance which you are free to act out in any way which you feel the music suggests. THE ORCHESTRA The word "orchestra" was originally the name of the space between the stage and the audience where the dances were given. Later this space was given to the musicians; then the name of the place they sat was given to the players themselves. The orchestra, or group of instruments which play to­ gether in giving us some of the finest examples of music, is University of Texas Bulletin fairly modern. At the time America was settled, Europe scarcely knew of large groups of instruments playing to­gether; not until the time of Haydn, who lived long after the American Revolution, did such groups receive much attention from composers. But Haydn only used twenty to thirty players ; now over a hundred ..are often used. This year you will study the Overture from William Tell, which will show you some of the curious things an orches­tra can tell you. Shepherd's Hey is another example of the possible effects of a modern orchestra. When you first hear the music produced by a great orches­tra, you will think that it is made by just one instrument, so absolutely are the tones from the different instruments intermingled. When you realize that twenty or more in­struments are being played, it may seem impossible that you should be able to recognize each one as it is sounded. Again it is just another story as with people. You meet a large crowd of strangers. It seems impossible at first that you can learn to know each one of these people, and not only learn their names but recognize their voices when they talk. But you do. You learn to know all your friends in a school, although at the first of the year they may have been strangers. That is the way you will have to think about getting acquainted with the different instruments of the orchestra. Before long you will recognize each one when you either see it or hear it. There are certain types of compositions written for the full orchestra. The most important of these are sympho­nies, overtures, suites, tone poems and tone pictures. We are not studying a symphony this year, but you have the Overture from William Tell, the two selections from the Carmen Suite, the Love Song, which is both a part of a suite and a tone-poem, and the Dawn from William Tell which is in itself a tone-picture. Besides these compositions which utilize the whole orchestra, you will hear many others arranged for certain groups of orchestral instru­ments. FAMILIES AND FRIENDS IN THE ORCHESTRA Do you know the old saying that "Birds of a feather flock together?" It is just as true of instruments in an or­chestra as it is of birds or people. There are certain groups which are related in some way; there are others which are not of one family but which seem to have a good reason for staying together. The first and most important group of the orchestra is made up of the members of the string family. We say they belong to the same family because there are certain family resemblances in each. They vary in size and their voices are different, but you can easily see that they had a common ancestor. The most important of the family­the one that is heard most often although it is the smallest­is the violin. Next in size is the viola; then, larger still, is the 'cello; and the largest is the bass violin. Closely related to this group is the harp. The violin family, except the harp, iti1 usually played with a bow; but sometimes, like the harp, the strings are picked by the fingers of the players. The next important family of instruments is that which is called the wood-wind; the instruments are made of wood, and are played by blowing. In this group is the little pic­colo, the flute, the clarinet, the oboe, and the basson. The tones of this group are plaintive and suggestive of the reed organ; each one has its own peculiar coloring. There still remains a group of instruments, called the percussion family, because they give out their tones when they are struck. The largest of the group is the drum, of which there are various kinds ; then there are the cymbals of brass which are struck together; and the castanets, tri­angles, gongs, xylophones, chimes, bells, celeste, and the marimba. Each of these has a tone peculiar to itself. During the year as you study the different selections you will have an opportunity to become acquainted with each one of these groups and the individual members of the dif­ferent families. One composition in which the families are clearly to be distinguished is the Overture from William University of Texas Bulletin Tell. The strings suggest the Dawn; the wood-winds are heard in the Calm; and in the finale you can hear the brasses. THE STRING. FAMILY The strings are the most important group in the orches­tra. Alone they can produce marvelous music. They have many advantages over the blown instruments because the bow can prolong a note a long time, while the breath of a blower soon gives out. The string instruments can present a great variety of pitch, and can play either very softly or very loud. With the tone of the violin you are probably familiar. In Songs My Mother Sang and in the Minuet from Bach you have an opportunity to hear it at its best, played by Kreisler, the Austrian violinist who visits America almost every year. In many of the orchestral selections you study, the violin plays a very important part. The violin is played in two ways. Usually the bow is drawn across the strings; at other times the strings are picked with the fingers. The picked string gives a sound like a light guitar; the bowed string sings in beautiful tones. The violins in the orchestra are usually divided into two groups, like soprano and alto singers. These groups range in number from four to thirty-two. The viola is much like the violin. It is larger and has a beautiful tone quality, but it is less known as a solo instru­ment. Listen to it in the Minuet in G of Paderewski and in V ermeland. The 'cello, as the violoncello is usually called, has a tone more nearly like the human voice than any other instru­ment. It is particularly adapted to the singing of beau­tiful melodies, or to singing a second independent theme while the violins or other instruments play the main theme. T.he great American poet, Walt Whitman, called the 'cello "Man's heart's complaint." You have a good example of it in Andante Cantabile and in the Emperor Quartette. The bass violin does not often figure as a solo performer. It supplies the bass for the orchestra. You will hear it constantly in conection with the other stringed instruments, as in Vermeland, and with the full orchestra in many other selections. The harp which is classed with the strings is an instru­ment consisting of forty-seven strings -0f different lengths, which are plucked with the fingers. The harp is particu­larly adapted to serve as an accompaniment for the voice or for singing instruments; sometimes a series of rapid scales or chords are given to the harp. An imitation of the tones of this instrument can be heard in Meditation when played by the organ. THE WOOD-WIND FAMILY The second division of the instruments of the orchestra is composed of instruments which are made of wood and are played by blowing. It is hard for a player of one of these instruments to play long passages or long tones, be­ cause he must get his breath frequenJy, and he so:>n be­ comes tired from continuous playing. The flute, clarinet, oboe, and English horn are all used for the melody in many compositions. They can play the same range of pitch, but their tones are quite different. The flute you can hear playing alone in the Omaha Indian Game Song, or with the orchestra in the Love Song of MacDowell. The clarinet is clearly heard in the Mus·c Box. In the Calm there is a duet for the flute and English horn. The piccolo, or baby flute, plays for you in Badinage, and the bassoon in the Scherzo from the Third Symphony of Beethoven. THE BRASSES The name tells you one of the differences between the wood-wind and these instruments, although both are playe:l by blowing. In this family are the trumpets, the Frenc'.1 horns, trombones, and tubas, all of which you can hear in the March from Aida and in Country Gardens. The trum­pet, which used to be very popular, is now used largely for its military character; the tone of the French horn has led many composers to give it the preference for the leading melodies. Often the French horn is borrowed by the wood­wind family to give a deeper tone to their combined singing. The trombone is an old instrument. It is a good instru­ment to have played in processions, as its tones are strident and decisive. The tuba is used to furnish bass for the brass group and it is also often used in combination with the strings. Its tone is full and rich. PERCUSSION INSTRUMENTS The percussion family serves to furnish the rhythm for the orchestra, while the others furnish the melody and har­mony. The family may be divided into two groups, those which can produce melody-that is, have a definite pitch; and those which can only produce rhythm. In the first group are the kettle drums, which can be tuned, the bells, celeste, and xylophone. In the second group are the other types of drums, triangle, cymbals, castanets and gongs. Many of these are to be heard in the different selections you study this year. The kettle drums and the tom-toms you can hear in From an Indian Lodge; the bells in the Music Box and Glow Worm; the xylophone in Nola, Glow Worm, and Shepherd's Hey; the cymbals in Aida and Coun­try Gardens; and you can listen for the triangle and drums in many of the others. OVERTURE From William Tell ROSSINI (Ro-see'-nee) In the central part of Europe is a mountainous region. There, in the Alps, where the land is just one succession of mountains and valleys, is the smallest and oldest of the Making Friends in Music Land republics of Europe, called Switzerland. The whole coun­try is dotted with beautiful lakes fed by the melting snows from the mountains. It was on the shore of one of the most beautiful of those lakes, Lucerne, that William Tell, a Swiss patriot who helped in the establishment of the republic, lived many centuries ago. For a long time Switzerland had been ruled by Austrian governors, many of whom were tyrants. It was such a ruler who ordered William Tell, when he refused to bow to a cap set up on a pole in the market place, to shoot an apple from the head of his young son. Tell, in fear and trembling did so; but he determined at that moment that the cruel governor, named Gessler, must suffer for being so heart­less. Before Tell shot the arrow toward his little son, he hid another in his coat. When Gessler asked him why he did so, he replied : "To shoot you, if you had killed my son." Then Gessler ordered Tell imprisoned in an old fortress across the lake. As he was being taken across the lake in chains, a ter­rible storm came up. The boatmen were soon exhausted and could hardly keep the boat from sinking. Tell told them that if they would unchain him he would help them. He was such a skillful boatman that he not only kept the boat from capsizing, but he steered it, not to the old fortress, but to a tiny island near his home. Just as the boat touched the shore, he jumped out, pushed the boat back on the lake, and escaped. Tell hid behind a wall along a road which he knew Gessler would come. When the hated tyrant appeared, he shot him with the arrow he had saved. Then the Swiss people determined to be rid of their Austrian rulers. They rose in revolt and drove them from the land, and made Switzerland a republic, a country ruled by the people who live -in it. In spite of the many wars waged by the coun­tries which surround Switzerland, she has been an inde­pendent country for seven hundred years. Perhaps her mountains have helped in keeping other nations out. The Overture which you are going to study is the music which is played before the opera begins. Its purpose is to suggest to you something of what you are going to see and hear. This overture is considered one of the best pieces of descriptive music ever written. Such music is called programme music, because, like a program, it gives you a picture, or tells you a story. Now that you know the story of William Tell, you can listen to the four parts of this Overture, and try to discover which part of the story it is telling you. THE DAWN In the first part of the Overture from William Tell you have a picture of the coming of morning in early summer. The first rays of the sun only serve to brighten the green slopes of the Alps. The quiet is faintly broken by the brooks which leap downward to join the blue water in the lake. The herds graze lazily upon the hillsides. In this selection the one instrument which you hear, sometimes alone and sometimes with other instruments, is the violoncello, the instrument which most nearly re­sembles the human voice. At first it sings alone, in a deep voice; then, as the motive is repeated, the music seems to brighten ; the song rises higher and becomes clearer as daylight breaks. Then the sun comes; the clouds are scat­tered ; the birds begin to sing; and the herds arise and wander at will to graze. In the distance the herdsmen are calling to their charges. And slowly life begins to stir in all directions. The simple mountain people scatter cheer­fully to their various tasks. But, if you listen carefully you can hear the kettle-drums suggesting a coming storm by their rumblings of thunder. Very faint they are, but so thunder is, in the distance. Isn't this a pretty picture of the land of William Tell early in the morning? The oftener you hear the musie the more beautiful the picture will become. As you listen, can you imagine the colors suggested by the picture? THE STORM In the second part of the Overture to William Tell you have another effective piece of tone painting. In this, the trip of William Tell across the lake is suggested. The cat­tle calls of the shepherds are heard, and all seems for the moment quiet and peaceful. But suddenly the sky darkens ; the roar of the thunder is heard; the waves rise in wrath and dash against the boat. The wind blows ; the rain pours in torrents; and you can almost see the flashes of lightning. Such storms often come suddently in m:mntainous regions. It will be interesting for you to discover which instru­ments of the orchestra can be used in giving such a colorful picture. In the quiet introduction, you hear the flute giv­ing the calls of the shepherds. In picturing the storm, many instruments are used. The piccolo, the little brother of the flute, serves to suggest the lightning with its short quick tones. The kettle drums furnish the thunder. The strings, played in a rapidly descending scale suggest the downpour of the rain; the ascending scale produces the ef­fect of gusts of wind. And after the worst has passed, can you hear the Alpine calls of the herdsmen as they try to gather together the flocks which were scattered during the storm? Which is the more effective picture, the quiet of the dawn or the roar of the storm? THE CALM In strong contrast to the second part of the Overture from William Tell, which pictures the music of the storm, is the third part, which suggests a song of thanksgiving after calm is once more restored. All is now peaceful and quiet again ; the tinkle 9f bells is heard as the flocks move on to new fields. The opening song is that of the shepherd, played on an instrument known as the English horn. Its tone is very similar to that of the horn which shepherds used to blow in the early days. The shepherd's horn is answered by the flute. After that you hear a famous Swiss folk-song, that of the cow-herder, played by the English horn and then imitated by the flute. After simply repeating the melody, the flute wanders on into a happy song which suggests the song of birds and the happy ripples of water. The tones of the two instruments form a beautiful combination. In securing the calm, peaceful atmosphere which this part of the Overture conveys, the composer used certain instruments. It is the group known as wood-wind which is especially effective for this purpose. The solo parts are given to the flute and English horn, which is really not a horn, and is always classed with the wood-wind group. These instruments are often used when a quiet, soothing effect is desired. In the early days, when music was very simple, it was such instruments which the shepherd used to guide his flock. THE FINALE Finale (fee-nah'-li) means the end or last part of a com­position. In the Finale of the Overture to William Tell all is joy and life. Perhaps it suggests the rejoicing of the Swiss people on attaining their independence, or perhaps only their determination to secure it. At any rate, it is martial, that is military, music; and it suggests vigor and happiness. In this part of the Overture you hear brass in­struments not needed in the other pictures. Whenever music suggests an army or marching, you can expect to hear the brass instruments, but in an orchestra these are usually joined by the strings. In the introduction you can hear the trumpet giving the call to action. This section is based on a theme which is quick and spirited; the whole moves forward with life and vigor. In addition to the union of the brasses to the strings to give the military air, you can listen to the drum and another member of the percussion family-the cymbals. It is very fitting that the Overture should end with a lively Finale. It keys you up, arouses your curiosity, and brings you to the opening of the opera with a keen interest. After knowing the Overture, you can better appreciate the whole. OH VERMELAND, THOU LOVELY SWEDISH FOLK-SONG Vermeland is the name of a province in the southern part of Sweden on the border of Norway. There the ground is covered with snow for much of the year. The country is very mountainous, but on the hill sides are great forests of trees, fir, spruce, and birch. As many of the trees are evergreens, in the winter they present a beau­tiful sight when laden with clear, glistening snow. The song in praise of this province is very popular among the people. It is considered one of the oldest legendary folk­songs in the world. Oh Vermeland, thou lovely, thou glorious land, The crown art thou of all the lands of Sweden: If e'er I reach the blessed, promised land, To Vermeland I'll turn again from Eden. Oh, there will I live, and there will I die, And if from Vermcland e'er a bride take I, I know I'll never be mistaken. On the record you will study (Vl9923) Vermeland is not sung, but is played by the whole string family of the or­chestra. Especially do you hear clearly the viola; and if you listen you can hear the basses. The viola is the sec­ond member of the string family. Its tone is not so bright .as that of the violin, and not so deep and rich as that of the 'cello, but in the viola tone is a touch of melancholy which makes it particularly suited to the songs of the northern peoples who know such long winters. The combined tone of the different stringed instruments is rich and very at­tractive to most musical people. THE MUSIC BOX LIADOW Have you ever seen a little music box which is wound up, like a clock, with a key? Usually it plays only one or two tunes; you can not change the records, as on a phono­graph, to hear as many selections as you like. The tones are made by little points on a brass cylinder which re­volves. Perhaps your teacher can show you a picture of a music box. They used to be very popular before such instruments as phonographs were ever dreamed of. Liadow (Lee-ah'-dof), a Russian composer, has tried to imitate the sounds of such a little instrument. Because a music box sends out such dainty, delicate tones, the music is arranged to be played by the baby flute-the piccolo, two real flutes, and three clarinets. All of these instru­ments are known as wood-wind, because originally they were made of wood and tones were produced by blowing through them. In addition to these blown instruments, you can hear the tones of bells and a harp. D;> you hear the chime at regular intervals? This kind of music, that attempts to give you a picture, is sometimes called programme music. The sounds sug­gest something you can see with your eyes, and then your imagination must serve as the little thread which connects what you hear with something you have, at some time, seen. That is why you must know about the music box, before you can even guess what the composer is trying to tell you. SONGS MY MOTHER TAUGHT ME DVORAK This song, composed by the Bohemian musician Dvorak, is based on an old gypsy melody which he had probably often heard. Dvorak was a poor boy who was determined to become a musician. Although he received little en­couragement for many years, he went straight on writing much beautiful music, and before he died he was recognized Making Friends in Music Land as a great musician and received some of the honors due his work. You American children will be interested in knowing that Dvorak came to the United States to teach, and while he was here he tried to interest American musi­cians in the themes of the Indians and the negroes. He suggested to them that American music should be created from such material rather than from themes of foreign origin. Although you hear this song played on the violin, the words will help you to understand the melody to which they were set. Songs my mother taught me In the days long vanished; Seldom from her eye-lids "\Vere the tear-drops banished. Now I teach my children Each melodious measure. Oft my tears are flowing Roused by memory's treasure. When you have learned the melody of this song, you have made your own one of the greatest in all music. FROM AN INDIAN LODGE MAC DO"\VELL If you hear this piece of music before you read the story, you are going to wonder what in the world it is all about. If you were asked to describe it, you would probably say that you just heard some noises, but that it did not sound like music. The reason it sounds strange is that it is In­dian music, or attempts to imitate Indian music. You are not accustomed to their style of music, but after you know what this music represents you will be much better able to understand it. Among the many Indian tribes who used to live in North America were the Kiowas. One day one of the young braves died. He was the only son of an old squaw, •vho University of Texas Bulletin grieved deeply that he should be taken from her. There were some queer customs among the Indians, and especially about deaths. When an Indian died, the members of the tribe assembled to mourn his death. You can hear in the music two long chords, then two short ones, followed by the tom-toms; that is the call to the members of the tribe to assemble. As they gather, you can hear the tom­toms still beating. After they are assembled, the voice of the mourner is heard. This song, played by the violin (V20342), is slow and mournful. It may be the song of the desolate old mother as she sits crooning and swaying over the body of her dead son. There is no constant ac­companiment to her song, only a sharp stroke, not on the first but the second beat of each measure. And after the song is finished the same chords and the beat of the tom­toms are repeated, as at the first. Then the tribe scat­ters, as some go to prepare the grave to receive the body of the dead brave. As with most Indian music, the theme is in a minor key, plaintive in tone. You can get this music for the piano in a set of piano pieces called Woodl,and Sketches, in which there are some other selections, not very difficult to play, but very musical. ANDANTE CANTABILE TSCHAIKOWSKY A string quartette is composed of two violins, a viola, and a violoncello. Many famous compositions have been written for this combination of instruments, because to­gether they can be made to produce some wonderfully beau­tiful tonal effects. Such a group of players usually give their concerts in a home for a small group of people. That is why such music is called "chamber" music. In such group playing one instrument is generally just as impor­tant as another-that is, no one of them is merely play­ing an accompaniment all the time. It is a string quar­tette which plays this selection. In the Andante Cantabile, which means "slowly and as if sung," you can hear two themes each of which is said to be a Russian folk-tune. The first theme you will hear 1&~·1 PE IJ J Ii J j p JIj J I played over and over by the different instruments in turn. The second theme is especially haunting in character. It is said that a painter who was working near Tschaikowsky's room sang this tune so often while at work that it at­tracted the attention of the composer who borrowed the theme for this composition. Do you hear the constant rep­etition of a small bit of the bass? Generally such repeti­tion would be regarded as tiresome, but when a genius handles simple bits of material, he can say the same thing over and over in such a way that we are glad to go on lis­tening. THEME AND VARIATIONS From the Emperor Quartette HAYDN The theme of the second movement of the Emperor Quartette is probably quite familiar to you. It was writ­ten in honor of the emperor of Austria, who was Haydn's (High'-dn's) sovereign. The words set to the theme origi­nally were these : God preserve our Franz, the kaiser, Our good kaiser, kaiser Franz. Peace and pity unassuming Near his throne shall e'er preside. God preserve to us our kaiser, Our good kaiser, kaiser Franz. In time this song came to be the Austrian national hymn, and the melody was adapted in other countries to various sacred poems. One of the best known of these hymns in English is that which begins, "Glorious things of thee are spoken." At the time this quartette was written, musicians were not regarded very highly by society. Haydn himself was employed by an Austrian, Count Esterhazy, to play the organ, to compose music, and to direct the orchestra which furnished music whenever he felt like hearing it. On the count's estate was a chapel, for which Haydn furnished the music for the services, and a theater in which his operas were given to entertain the court. Haydn was quite poQl", and had to work very hard all his life. Perhaps that is the reason he wrote as much beautiful music as he did. LOVE SONG MACDOWELL Edward MacDowell was among the first of American composers to see the possibility of adapting to artistic pur­poses the music of the original inhabitants of the North American continent. He gathered various themes which had been used by the Indians in their songs and dances. Some of these he wove into a series of compositions for orchestra, now known as the Second Indian Suite. The opening theme of the second number of this group is a love song that was used by the young braves of the Iowa tribe. Perhaps you know that the Indian who goes a wooing uses the flute to convey his petition to the maiden he seeks to win. This instrument you can hear at once in the Love Song, and it sings the most important part throughout. In this arrangement you will hear the wood­ winds to good advantage, as they furnish the background for the lover's plea. You wonder, I am sure, whether tti.e song was success­ ful, but music, like stories, often leaves us wondering. And perhaps that is well, for if we knew everything we wanted to know, there would be nothing interesting to look for­ ward to finding out. MEDITATION From Thais MASSENET (Mass'n-nay') Thais (Tah-eece') was a beautiful woman who thought of nothing better than her own loveliness and pleasure. She lived in the town of Alexandria, in Egypt, many years ago. In that town there were many men who admired Thais, and their wealth was at her bidding. Revelry and luxury was all she sought. Into this town, where Thais ruled all through her beauty, came one day a young monk from the desert. He belonged to a band who had forsaken all earthly joys and sought only to prepare themselves, while in this world, for life in another world beyond the skies. They felt it was their duty to lead others away from the revelry of the world, and to teach them of higher joys. The young monk, whose name was Athanrel, had seen Thais, wasting her life in wanton pleasure, and was determined to convert her. The oldest monk of the group warned him to desist from his purpose; but, unafraid, he went to the city of evil to try to save her. There he saw her again, a vision of beauty. He talked to her, but she only laughed and could not understand what he wanted. He begged her to leave behind her luxury and ease, and to turn her mind to higher things. Perhaps it was his earnestness, his sincerity, that touched her; he was so different from the other men she knew; he asked nothing for himself, but was interested only in her welfare. Sud­denly she burst from the crowd of revelers who surrounded her, and threw herself sobbing on a couch. We have only one clue to what went on in the soul of Thais--the music which Massenet (Mass'-n-nay') wrote to follow that scene. But change there was, for Thais came out another woman, ready to begin the journey to join a group of holy women in the near-by desert. All her worldly goods she left behind her; in peasant garb and with bare feet she trod the burning sands with Athanrel, intent only on finding that other Heaven of which he had told her. A terrible journey it was for one so frail and tender; but she struggled on. At last, almost worn out, she reached the group of White Nuns, who received her with outstretched arms and sighs of pity. But Athanrel, in watching the wonderful determination of Thais, did not realize how much he had come to love her until he had to give her up forever. No, not quite forever; a few months later the White Nuns sent for him. Thais was dying and wanted to thank him for having led her toward Heaven. But Athanrel begged her to live, to live for him; he could not give her up. It was in vain. She passed on to that other world of which he had told her; and left him alone to suffer not only her loss, but to seek out a path of penitence which might lead him, too, to Heaven. The Meditation which you hear (V35858) played on the organ was originally written for orchestra with the violin playing the melody. The accompaniment, a series of arpeggios, suggests the background of the harp. Of the whole opera, this selection is easily the finest bit. Not only is the melody beautiful in itself, but it is supported by harmonies which suggest at once not only the witchery of the Nile region, hut the joy of rising from darkness to light, from wrong to right, or from the world to Heaven. It portrays the triumph of Thais, the conquest of herself in renouncing the joys of the world and seeking, in a sphere above, those of the spirit. BERCEUSE From Joc:elyn GODARD (Go-dahr') Berceuse (Bair-seuz') means "slumber song" or lul­laby. This lullaby you are to hear (V35858} on the organ, although it was written to be sung in an opera called Jocelyn (Joss'-lin). The opera is not often given now, but this one song has been arranged for many different instru­ments. Especially is it beautiful on the violin. As you hear the organ, you must try to determine which part is the song and which is the introduction and the instru­mental part played between the stanzas of the song. Here are the words. Concealed in this retreat Whereto we have been led By sore misfortune joined, While weary nights have fled, In visions calm and sweet We together have slumbered Or have prayed, while above us Sparkled stars unnumbered. Oh wake not yet from out thy dream Wbich guardian angels have at~nded, And while the golden splendors gleam Still sleep, my love, until 'tis ended Sleep, sleep! Not yet appears the day, Holy Virgin, guard, guard her I pray. THE HEART BOWED DOWN From the Bohemian Girl BALFE The Bohemian Girl is a story about gypsies. Long ago, many bands of these people wandered from place to place. In each l>and were some who sang and danced a:nd these would go into the towns or to the palaces of nobles and make music for a few pennies. The gypsies never stayed long in one place; they did not like to live in houses, or to do regular or confining work. It was very easy for them to steal children and carry them off; in gypsy clothes and tanned by the wind and sun, a stolen child could hardly be recognized. One day, long ago, a little girl named Arline was play­ing out in the woods near a castle in Bohemia. A deer hunt was in progress. A wild deer which was being pur­sued came upon her, and she was just about to be killed when Thaddeus, who had just joined a gypsy band en­camped close-by, saved her. Arline's father, who owned the castle and all the land thereabouts, was so grateful to the gypsy that he invited him to share the dinner to be given for the hunters. During the dinner a strange thing happened. The gypsy who had saved Arline, Thaddeus was his name, refused to drink to the health of the Austrian emperor. It was un­heard of! The count was about to have him imprisoned for his insolence when another gypsy, whose name was Devilshoof, interfered. As a result he was arrested and imprisoned in the castle. He became very, very angry; and in his anger he managed to escape. In order to punish the count, on his way out of the castle he stole the little girl, Arline, and hastened with her to the gypsy camp. At once they moved away, and among the roving gypsies Arline grew to be a beautiful girl. The gypsy who had saved Arline's life came to love her very dearly, and one day he told her of his love. She as­sured him that she, too, loved him, and they promised to be true to each other no matter what happened. But the old gypsy queen overheard them and vowed vengeance upon them, for she loved Thaddeus. She mana.ged matters so that once, while the band was encamped just where they had been when Arline was small, a medallion was stolen from a nephew of the count, Arline's father. Arline was arrested and taken before the count as the thief. And then, when he saw the scar made by the attack of the wild deer, he recognized her as his own dear little daughter, stolen so many years before; But Arline, after she went to live in the castle, did not forget her gypsy lover, who slipped into the castle to see her. One day, while they were talking, Arline heard her father approaching and hid Thaddeus in a closet. But again the jealous old gypsy queen had been watching and told the count where the gypsy was hidden. Then Arline told her father that she loved Thaddeus and intended to be his bride. The count was furious; he rushed upon the gypsy to kill him ; but Thaddeus stopped him and explained that he was not really a gypsy, but a Polish nobleman who had been exiled. To avoid being found, he had lived many years with the gypsies. With that, Arline's father was satisfied, and the young couple were happily united. One of the songs you are going to hear, "The Heart Bowed Down," is sung by Arline's father, many years after she had disappeared. He has almost given up hope of ever finding her again. The words he sang are : The heart bowed down by weight of woe, To weakest hope will cling, To thought and impulse while they flow, That can no comfort bring. With those exciting scenes will blend, O'er pleasure's pathway thrown; But memory is the only friend That grief can call its own. The mind will, in its worst despair Still ponder o'er the past, On moments of delight that were Too beautiful to last. To long departed years extend Its visions with them flown; For memory is the only friend That grief can call its own. The other song you want to learn to recognize is "Then You'll Remember Me," which is sung by Thaddeus to Arline after she has gone to live in the castle while Thaddeus is still known as a poor gypsy. He is very sad, thinking that Arline will not care for him any longer. When other lips and other hearts Their tales of love shall tell, In language whose excess imparts The power they feel so well: There may, perhaps, in such a scene, Some recollection be Of days that have as happy been, Then you'll remember me! When coldness or deceit shall slight The beauty now they prize, And deem it but a faded light Which beams within your eyes; When hollow hearts shall wear a mask 'Twill break your own to see, In such a moment I but ask That you remember me! You will be interested in the other music on record 35819, if that is the one you study. The first selection is the chorus of the hunters in the forest, "Away to Hill and Glen." The next part played is a song which Arline sang to Thaddeus many years after she had been stolen by the gypsies, "I Dreamt That I Dwelt in Marble Halls." She remembers clearly incidents of her early life, but can not explain them. After you hear "The Heart Bowed Down" a chorus of the gypsies which opens the second act is heard. Here they are singing, "Silence, Lady Moon" while in their camp. "The Fair Land of Poland," is the song in which Thaddeus tells the count that he is a Polish noble in disguise. "Happy and Light" is another gypsy chorus, as are "In the Gypsy Life" and "Come with the Gypsy Bride." The next song is sung by the old gypsy queen who can not understand why Thaddeus does not love her. Just before you hear Thaddeus singing "Then You'll Remember Me," Arline sings "What Is the Spell," and then the final chorus, in which many singers join, completes the opera. After you know all of these bits, you will want to hear the whole opera. THE EXTENSION LOAN LIBRARY By writing to the Extension Loan Library, University of Texas, teachers may obtain the loan of books and package libraries on music. This library has twenty-four books on music and package libraries on seventy-five different phases of the subject. Most of the volumes listed in the bibliography are available. The package libraries consist of collections of magazine articles and bulletins, all on the same subject. Some of them are of a general nature, covering such subjects as appreciation of music, negro music, and national songs; others are confined to material on one composer or singer. The books and package libraries are loaned for a period of two weeks. The only cost to the borrower is the pay­ment of transportation both ways. In towns where there are public libraries or school libraries, the applications for material must be made through the librarian. Otherwise it will be sent to a teacher. When the librarian writes for material, the Extension Loan Library has the privilege of borrowing for her, as an inter-library loan, books from the Main University Library, in addition to sending its own books and package libraries. A list of music books and package libraries from which a choice may be made will be sent to any teacher who applies to the Extension Loan Library for it. Records may be obtained, under the same conditions, from the Department of Visual Instruction, University of Texas. The National Bureau for the Advancement of Music with headquarters at 105 West Fortieth Street, New York City, will supply all persons interested with material regarding music memory contests. NOTES AND SUGGESTIONS TO TEACHERS Piano arrangements of almost all the selections listed may be secured through local music dealers or direct from any of the larger publishing houses, such as: Theodore Presser, Philadelphia; G. Schirmer, New York; Oliver Dit­son, Boston; or B. F. Woods, Boston. A few are available as piano duets: William Tell Overture, $1.10; Berceuse from Jocelyn, 35 cents; March from Aida, 35 cents, and as a trio, 50 cents; Glow Worm, $1.00. The following may be secured as vocal solos: Song of the V ermland, 50 cents; Songs My Mother Taught Me, 25 cents; and the two songs from the Bohemian Girl at 40 cents each. The Love Song of MacDowell is included in the Second Indian Suite, $2.00, and From An Indian Lodge can only be purchased in a volume entitled Woodland Sketches, price $1.25. For the benefit of the teacher who has to count the pen­nies, attention is called to the Century Edition of music at 15 cents a copy. In this edition, the William Tell Over­ture, March from Aida, Berceuse from Jocelyn, the selec­tions from the Bohemian Girl, and perhaps others may be secured. Any music dealer can supply a catalogue. All of the little essays from "Traveling into Music Land" through "Meter in a theme" are intended to serve as an aid in teaching theme recognition. The records suggested, while not on the required memory list, furnish simple and fascinating material for this purpose. After this founda­tion is laid, it will be well to follow up the work with other records, new to the children, at first simple folk dances, and then some of the other selections from the music memory list, such as the minuet of Bach or the Gavotte of Beethoven. While all music is basically thematic in structure, some of it should not be subjected to this dissecting process; the children should be allowed to enjoy it as pure music, re­gardless of its structure. The study of theme recognition should be limited to compositions of clear outline and of a limited number of easily distinguished themes. Folk songs and dances lend themselves well to this purpose. If the selections indicated are carefully studied, and the records available through the League Bureau be used from time to time as testing material, the children will be adequately prepared for the final test on theme recognition. Of a Tailor and a Bear (20153) is by Edward MacDowell who is said to have adapted his music to a fairy tale of Hans Christian Andersen. The music may be secured for piano in a volume entitled Forgotten Fairy Tales which were published under the pseudonym of Edgar Thorn. Price 75 cents. In teaching this music for theme recognition, it is best to play the tailor theme several times until the children recog­ nize it. Then play the whole selection, having them raise their hands whenever they hear this theme. There is no difficulty about the recognition of either the bear or the tuning of the violin. After each theme is familiar, the whole story may be reviewed with the music. The piano version of The Wild Horseman may be secured in Album for the Young by Schumann. In teaching (20153), let the children themselves reach the conclusion that there is only one theme. To represent the difference in the theme as it is played by different instruments, use white chalk for the phantom and a dark color for the ap­pearance of the real horseman. Your sequence will be like this: aaAaaAaa The theme is played eight times in all, twice the live rider with brass and blocks, and six times the phantom. The Little Spinning Song is by Kullak and may be se­cured as a simple piano solo. Play the spinning theme (20153) (first eight measures) several times until familiar; then the whole selection, the children listening for the spin­ning theme. The second theme may be taken up later; they will recognize it when it returns before the conclusion. When the themes are thoroughly familiar, call the spin­ning theme A, the second B, and follow the music as A A B B break, break, repair, A A B B conclusion The music of The Little Hunters by Kullak can be se­cured for piano. Use only the horn and gallop themes which may be represented thus: A A B Incident A A B Conclusion In teaching all of these little studies, after the themes are easily recognized, return to the question of instrumental tone. Which instruments are heard singly? Which in groups? Is the selection played by band or orchestra? After the instruments have been studied separately, the children will be better prepared to recognize these distinc­tions. From the "Story of the Dance" through "Nola," the pur­pose of the material is to introduce the children to dance rhythms. Here the teacher faces some problems. With the march, of which the meter is usually taught as four­beat, she comes at once face to face with marches of two­beats and of six-beats. These can usually be simply ex­plained as combinations or sections of the standard march rhythm. The main point is that the child recognize a march when he hears one; the exact form in which the music is written is secondary. In general, the marches sent out on contests will conform to the four-beat standard ; but children should be made to understand that the other forms are just as common. As an introduction to marches, use record 22014 on which four are presented. While the Grand Matrch from Aida is introduced under the study of the march, it is best to let the children read the story of Aida, given on page 28 with the Mooris'll Ballet, before that given with the March on page 22, for the former helps to explain the setting. After the march is recognized easily as a dance form, some of the outstanding themes can be utilized for recognition of repetition. If the children are allowed to dramatize the Soldiers Changing the Guard, they will feel an added interest. In studying the waltz, the selections suggested may be found limited. In most neighborhoods, waltz records will be found, and several can be secured from the Visual In­struction Division of the University of Texas, if needed. The themes of the Morris Dances, Country Gardens and Shepherd's Hey are printed in Morris Dance Tunes by Cecil Sharp; directions for dancing Shepherd's Hey are given in John Graham's Shakespearean Bidford Morris Dance Book. As arranged by Grainger, the music is not suitable for danc­ing, nor is Country Ga.rdens. Other records (20641 and 20642) present these in form for folk~dancing. Skepherd'a Hey is based on one theme which is varied considerably in each repetition, sometimes in the actual melody, sometimes in the inBtrumentation. These Morris dances, while oow known more generally as English, are grouped with the Spanish dances from which they are said to take their origin. The Glow Worm is grouped here as it is an especial favorite with teachers who use the music of the gavotte as a basis of other steps. It also furnishes good material for interpretative dancing. Allow the child to dance as the music inspires without regard to formal steps. The song arrangement may be secured for forty cents from any music dealer. The Slavonic Dance in G minor is available both for piano and for violin, but there are many differences in the two arrangements. The piano version is in E minor, opus 46, No. 2. Nola furnishes good material for free interpretative danc­ing. The music may be secured for piano solo. From "The Orchestra" through the Love Song, attention 1s directed to the tone of the different orchestral instru­ments. It would be well to precede this study with record 20164 which presents each instrument separately. After the flute is easily recognized, the Love Song can be used to allow this instrument to be distinguished from the others in the orchestra. The general order in which the stories are arranged may well be followed. Two selections are presented on the organ. In M edita­tion attention should be called to the organ substituting for the harp and the violin, and in Jocelyn for the wood-winds and voices. The closing number presents the only vocal selection in the year's program. Here is an opportunity to distinguish different qualities of voice, and also to get the effect of massed voices. It serves as a brief introduction to the study of opera. Further discussion of this form is left to the judgment of the teacher, as the emphasis for the year is on the three elements, theme, form, and instru­mental tone. Songs My Mother Taught Me should be taught as a song. The vocal arrangement may be secured from any publisher or on record 1319. BIBLIOGRAPHY Below are listed some volumes which may be helpful to teachers desiring more material. The volumes marked with a star are adapted to children's reading and would make desirable accessions to school libraries. General Reference Pratt, W. S., The New Encyclopedia of Music and Musicians. New York, The Macmillan Company, 1924. (Best one volume reference.) Muaic Appreciation Hayward, F. H., The Lesson in Appreciation. New York, The Macmillan Company, 1922. (Suggestive material for any thoughtful teacher.) The Victrola in Rural Schools. The Victor Co. (Free.) Faulkner, A. S., What We Hear in Music. The Victor Co., Camden, 1928. Music in the Home. R. F. Seymour, Chicago, 1917. The Victrola in Correlation With English and American Literature. The Victor Co. (Free.) Music Appreciation for Little Children. The Victor Co. Pan and His Pipes and Other Short Stories for Children. The Vic­tor Co. Rhetts, Edith M., Outlines of a Brief Study of Music Appreciation for High Schools. The Victor Co. Fryberger, A. M., Listening Lessons in Music. Silver, Burdett Co., Chicago, 1925. Hamilton, C. G., Music Appreciation. Boston, Ditson & Co. Mason, D. G., A Guide to Music for Beginners. New York, 1913. Kinscella, H. G., Music Appreciation Readers, Books 1-6. Physical Education and the Victor. The Victor Co. (Free.) Biography Cooke, J. F., Musical Playlets for Young Folks. Presser, 1917. Tschaikowsky, Modeste, The Life and Letters of Peter llish Tsch­aikowsky. Edited from the Russian with an introduction by Rosa Newmarch. London, 1906. Stratton, Stephen, Mendelssohn. Dutton & Co. Thayer, A. W., The Life of Ludwig van Beethoven. G. Schirmer, New York, 1921. 2 vols. *Tapper, T., First Studies in Music Biography. Presser Co. *Cooke, J. F., Music Masters Old and New. Presser Co. Brower, Harriet, Story Lives of Master Musicians. Scholes, Percy A., First Book of Grerit Musicians. Oxford Univer­sity Press. New York. Hiatory Elson, Louis C., The History of American Music. The Macmillan Co., 1925. Cooke, J. F., Young Folk's Picture Historr of Music. Presser Co., 1925. (Suitable for kindergarten children and primary work.) *Cooke, J. F. Standard History of Music. Presser Co. Baltzell, Wm., A Complete History of Music. Presser Co. Hamilton, C. G., Outlines of Music History. Oliver Ditson Co., Boston, 1924. Stories The Victor Book of the Opera. The Victor Co., Camden, 1929. *Wheelock, E. M., Stories of Wagner for Children. Bobbs-Merrill Co. Indianapolis, 1907. Perry, E. B. Descriptive Analyses of Piano Work. Philadelphia, 1902. Perry, E. B., Stories of Standard Teaching Pieces. Philadelphia, 1910. Popular Song Collections Twice 55 Community Songs. Birchard & Co., Boston. Laurel Music Reader. Birchard & Co. A Golden Book of Favorite So11.gs. Hall McCreary Co., Chicago. The Gray Book of Favorite Songs. Hall McCreary Co., Chicago. The Universit11 Song Book. University of Texas, Austin, Texaa. (None of these song books exceed 25 cents for a single copy. Re­ductions are made for quantity orders.)