University of Texas Bulletin No. 2637: October 1, 1926 MAKING FRIENDS IN MUSIC LAND By LOTA SPELL INTERSCHOLASTIC LEAGUE BUREAU Division of Extension BOOK II PUBLISHED BY THE UNIVERSITY OF TEXAS AUSTIN Publications of the University of Texas Publications Committees: GENERAL: FREDERIC DUNCALF E. K. McGINNIS J. W. CALHOUN H. J. MULLER J. L. HENDERSON G. W. STOMBERG HAL C WEAVER OFFICIAL: W. J. BA'M'LE R. A. LAW H. Y. BENEDICT F. B. MARsH C. D. SIMMONS The University publishes bulletins four times a month, so numbered that the first two digits of the number sho'V the year of issue, the last two the position in the year1y series. (For example, No. 2201 is the first bulletin of the year 1922.) These comprise the official publications of the University, publications on humanistic and scientific sub· jects, bulletins prepared by the Division of Extension, by the Bureau of Economic Geology, and other bulletins of general educational interest. With the exception of special num­bers, any bulletin will be sent to a citizen of Texas free on request. All communications about University publications should be addressed to University Publications, University of Texas, Austin. ••tn•m•PTU.U.....AHTI• University of Texas Bulletin No. 2637: October 1, 1926 MAKING FRIENDS IN MUSIC LAND By LOTA SPELL INTERSCHOLASTIC LEAGUE BUREAU Division of Extension BOOK II PUBLISHED BY THB UNIVERSITY FOUR TIMES A MONTH, AND ENTERED AS SECOND·CLASS MATTER A.T THE POSTOPPICB AT AUSTIN, TEXAS, UNDER THB ACT OF AUGUST 24, 1912 The bene6ta of education and of useful knowledge, generally diffused through a community, are essential to the preservation of a free govern­ment. Sam Houston Cultivated mind is the guardian genius of democracy. • . • It is the only dictator that freemen acknowl­edge and the only security that free­men desire. Mirabeau B. Lamar Copyright, University Interscholastic League 1 9 2 6 INDEX OF COMPOSITIONS PAGE Allegretto-Eighth Symph-Ony__________________Beeth-Oven --------------31 Allegro-Military Symphony______________________ Haydn ------------32 Amaryllis ------------------------------------------Out French Dance__ _ 35 Andante Cantabile-String Quartet______________ Tschaikowsky ________ 33 Auld Lang Syne_______________________ __ ____________________ scotch ---------------13 Caro Nome-Rigoletto ___________________________________Verdi ---------------------25 Dagger Dance-Natoma__________________________________ _ ____ H erbert -----------------36 From the Land of the Sky-blue Water ---------------Cadman _________________ 15 Intermezzo-Cavalleria R?Mticana____________________Mascagni _____________ 39 Largo-Xerxes ________________ ______ ______________________ Handel __ ___________ 26 Liebesfreud --------------------------------------------------------------Kreisler -----------------36 Marseillaise ____________________________________________________________De Lisle________________ 41 Melody in F _______________________________________________________ Rubinstein _____________ 40 Overture-Mignon ------------------------Thomas -----------------26 Overture-Oberon -----------------------------------Weber --------------------28 Song of the Volga Boatmen______________________________ _Russian ----------------11 Stars and Stripes Forever, The______________________ Sousa --------------------38 Swan, The _____________________________________ _ _____________________Saint Saens --------43 Toreador's Song-Carmen ______ ____ ____________ ___________ Bizet -------------------23 With Verdure Clad-The Creation__________ ________ Haydn ---------------------20 Year's at the Spring, The________________ __________________Beach --------------·-----17 INDEX OF COMPOSERS NUMBERS PAGES Beach, Mrs. Amy Marcy_____ __ __ _________________________ 10 _____ _ ________ _ _ l 7 1867­Be3thoven, Ludwig von_ ____________________________________24 ________________________ 31 1770-1827 Bizet, Georges _____________ _ ________ _ __ _________________________ 14 ________________________23 1838-1875 Cadman, Charles Wakefield________________________________ 6 ________________________15 1881­De Lisle, Claude Rouget______________________________________39 ________________________41 1760-1836 Handel, George Friedrich ___________________________________16 ___ _ _ __ ________ __ _26 1685-1759 Haydn, Franz Joseph __ __ _____________________________________ll, 25_ _________________ _ 20, 32 1732-1809 Herbert, Victor___ _ __ ___________ _ ___ _____________________________3l ________________________ 36 1859-1924 Kreisler, Fritz -------------------------------------------------------30 ______ _______________ __ 36 1875­Mascagni, Pietro____ _ ___ _ ________________ __ ____________________ 37 ________________________ 39 1863­Rubinstein, Anton______________________________ ____________ __38 ________________________40 1829-1894 Saint Saens, Camille_______________ ____________________________40 ________________________ 43 1835.-1921 Sousa, John PhiliP----------··----------------------------------36 _____ _ __ _____________ .38 1854­Thomas, Ambroise____________ __ _________________________________ 22 ________________________26 1811-1896 Twhaikowsky, Peter Ilich___ __ ________________________28 ________________________ 33 1840-1893 Verdi, Giuseppe ---------------------------------------------------15 __________ ________ _ __ 25 1813-1901 Weber, Carl Maria von___________ ___ _ ____________________l3 ------------______ ____28 1786-1826 PREFACE This little volume is a continuation of the University of Texas Bulletin Number 2537, entitled Making Friends in Music Land. Both serve to supply material in story form to be used in conjunction with the list of selections desig­nated for study in the State Music Memory Contest for 1926-27. It is hoped that this reading material will serve not only to impress upon the minds of the children of the grammar grades the names of twenty musical selections, but, by developing some degree of a critical attitude toward music in general, will stimulate in them an increased in­terest in good music. In Book One such fundamentals of music as melody, rhythm, and harmony were introduced and explained. In the little essays in this book, an attempt has been made to lead the children to differentiate between these elements, and also to introduce to them some of the basic details of structural and content variations. Any intelligent listener should be able to distinguish between major and minor keys, duple and triple rhythm or metre, program and pure music, to recognize the general outline of musical structure, and to compare the relative importance of the melodic, rhythmic, or harmonic elements present in a composition. On the ability to perceive such distinctions rests the power of an individual to appreciate music at all. If a child is led to understand the elements of music by having his attention called to them in the study of compo­sitions which he has the opportunity to hear often, he will be brought ultimately to look for the same details and to ask himself questions about music which he has never heard before. The points which the intelligent listener to any music keeps in mind are those which the teacher should emphasize in teaching these selections ; the memorizing of names is merely incidental to the ultimate purpose of lead­ing the child to appreciate music; but every real teacher knows that the more closely a child is led to examine the structure and content of any composition, in conjunction University of Texas Bulletin with the study of the life and times of the composer, the more surely will the names of both composition and com­poser be fixed in mind. In deference to schools which cannot afford to purchase an entire set of new records and because a second study, from a new angle, of some of the selections is decidedly advisable, thirty of the selections used in the contest list of 1925--26 have been retained for 1926-27. Music which the child thought he knew all about last year can be made interesting again by bringing to his attention many details of which he was before oblivious. If the type of questions applied to the selections treated in Book Two are used in connection with the composition studied last year, this end may be, to some degree, attained. The writer wishes to thank the numerous supervisors and teachers of music who have, through criticisms and sug­gestions, helped to formulate the general plan of this book. Especially is indebtedness acknowledged to Dr. Sigmund Spaeth who, in his Common Sense of Music, has outlined some of the real aims of the study of music appre­ciation. LOTA SPELL. The University of Texas. September 25, 1926. A KEY TO NEW FRIENDS When you meet a strange person whom you hope is going to be a friend, you generally make up your mind very quickly whether that person is either glad, gay, and happy, or else sad, lonely, and miserable. It would be a little hard for you to tell just what it was about the person that made you decide one way or the other; perhaps it was the face, the eyes, or the movements, or it may have been a combination of all these and other things besides. Music may be classified in much the same way. Some pieces sound cheery and bright; others have a weird, melan­choly, or dismal strain. Some selections which open in the weird tone change to a brighter vein, but you will find that they generally return to the melancholy tone before the end. You know even sad people forget their troubles sometimes and are as gay as cheerful ones. The word that musicians use in describing this difference in music is "key." Even in describing words or voices we sometimes say that a person spoke in a cheery "key," by which we mean the general tone. In music the meaning of "key" is still more definite, because a musician knows what makes the difference. It all depends upon the scale from which the music is constructed. There are two kinds of scales most generally known in the western world; each of these consists of seven tones. There is one main difference between them: the third tone of one is lower than in the other. The scale from which the brighter music is made is called a major scale. It sounds like this : ~ ti ....... Q .... -G--Q .., The other scale which has something more weird or somber about it is called a minor scale. This is the way it sounds: ti a 9 University of Texas Bulletin One of the things which a musician can recognize at once on hearing a musical compo8ition is this difference in "key.'' If you compare a number of different compositions, you can begin to recognize the difference too. Listen to the pieces you studied last year. Which of them are written in a minor key? Try the Arabian Dance, then the Waltz of the Flowers. Is there any difference in the general tone? How many of the pieces that you studied before are in a minor key? What is the key of the Dagger Dance? The Volga Boatsong? Is it as bright and cheery as some of the other folk-songs you have studied? After listening to these, play the Melody in F or The Swan. Do you hear any difference in the general character? If you do, you are beginning to learn to listen to music intelligently. You must not think that every composition in a minor key is necessarily either sad or slow. Much of the music of the gypsies which is lively and rhythmic is in a minor key. Indian music and Mexican music are often minor. The only way to recognize the difference is by listening. There are actually some music students you can tell from a printed page whether the key of a composition is major or minor but when they hear a strange composition played they cannot tell which is which. If that is true of any of you, I hope that you will listen more. THE SONG OF THE VOLGA BOATMAN Number 1 RUSSIAN FOLK-SONG Through Russia, the largest country of Europe, flows the longest river of that continent-the Volga. For a distance of more than two thousand miles this river passes through a valley in which millions of people live; at last, it unbur­dens its waters in the Caspian Sea. On this waterway much of the traffic of Russia is carried on. Great fleets of flat boats, called barges, loaded with heavy cargoes­sometimes wheat and sometimes timber-pass up and down this stream continually. But these boats are not driven by steam or oil engines as most boats are today, or even by oars, as they were long ago ; they are pulled by men. For Russia is a country that has had for centuries a few very rich and very proud nobles who owned all the land while millions of people who lived on the land and did the work were really slaves. All of these poor people had to do whatever was ordered by the powerful nobles who thought no more of their peasants than they did of their cattle, if as much. The people could not move away; they belonged to the land. And it was these poor serfs who had to pull the heavy boats up and down the Volga River. Strong ropes were put across each man's breast; then several dozen men were fastened together; sometimes drivers with whips walked behind to force them on. Often a man fell, utterly exhausted, but others pulled him up and dragged him into the harness again. Thus their lives were spent. There was only one means of cheer left to these miser­able men, and that was song. As they plodded along the banks of that great river, they sang to keep their steps together and their hearts from failing entirely. You know it is believed that people can work better and more quickly if all sing. In olden times there were many kinds of working songs. Do you know any? A spinning song or threshing song? A song of boatmen while they rowed? University of Texas Bulletin But the song of these boatmen on the Volga could not be as cheerful or bright as those of the people of western Europe who were free and happy in their work. In Russia life for the poor was too hard and dreary. Here are the words they sang: Pull, boys, pull; pull, boys, pull. Pull, though weary; pull, boys, pull. Pull, boys, pull; pull, boys, pull. Pull, though weary; pull, boys, pull. Heaven may help the poor man's need, Soon the end will crown the deed. Pull, boys, pull, for yon is the shore­Man shall labor for ever more. At first you will hear the voices of the boatmen very faintly, as if from a great distance; slowly, with dragging steps, they come nearer, and the gloomy voices become more and more distinct until, as the boat passes by, each word is very clear. Then slowly the singers pass on until finally their tones can be distinguished only very dimly. The sadness of this song will suggest to you the despair and the woe of the poor in Russia not many years ago. Do you know what has happened there in the last ten years? If so, what difference do you think one should find in their songs in the future? Do men still pull the boats up and down the Volga? 1. Who sings the song--one person or more? 2. Has the song a chorus? 3. Is there much repetition in this song? 4. How many times do you hear the same tune before the boat passes by? 5. Do you hear any instrument? 6. Does this sound like a major or minor key? 7. What is the metre of this song-two-beat or three­beat? 8. What kind of a voice has the singer? 9. If you had not read the story, would you have imag­ined this was a Spanish song? Why? 10. Do you know any other working-song that is sad? Making Friends in Music Land AULD LANG SYNE Number 4 SCOTCH FOLK-SONG You are wondering what these queer words mean, are you not? They do not seem like English to you, I am sure. They are Scotch words, and the poem by this name was written by one of the best loved of Scottish poets, Robert Burns. Do you know any other poem that he wrote? These words simply mean, in English, "the good old times." Should auld acquaintance be forgot And never brought to mind? Should auld acquaintance be forgot, And days of auld lang syne? For auld lang syne, my dear, my dear, For auld lang syne; We'll take a cup of kindness yet For auld lang syne. We twa hae run about the braes, And pu'd the gowans fine; But we've wandered many a wear foot, Sin' auld lang syne.-Chorus. We twa hae paidl'd in the burn Frae morning sun till dine; But seas between us braid hae roar'd Sin' auld lang syne.-Chorus. And there's a hand my trusty fiere And gie's a hand of thine! And we'll tak' a right-gude willie waught For auld lang syne.-Chorus. And surely ye'll be your pint stowp ! And surely I'll be mine. And we'll take a cup o' kindness yet For auld lang syne.-Chorus. The tune which is used now is an old Scottish melody. If you listen carefully you will find something peculiar University of Texas Bulletin about the music. Have you heard of music made from a scale of only five notes, instead of the seven that we usually use? In the scale used by the Scotch, the fourth and seventh tones are missing, as they are in the negro tune, Nobody Knows the Trouble I've Seen. On the piano you can play this Scotch song by using only the five black keys. "Aul.d Lang Syne is the social song of all the English­speaking races. It speeds the parting guest, and is the last strain which the soldier hears when he leaves the old country for the wars. For more than a hundred years it has been at once the song of farewell, the remembrancer of old friendships, and the pledge of new ones." Do you know where Scotland is, or anything about the life of the Scotch? ln the midst of rugged mountains, far to the north, live these people who fought for centuries to remain independent of the English. Then, at last, be­cause England had no king, the ruler of Scotland became the ruler of England also; in this way the two countries were peacefully united. Sturdy and free, light-hearted but resolute are the Scotch. In this song you can sense their loyalty to their friends. And real friends, among people, books, and music, are most worth while. Have you added to your circle of music friends since last year? 1. Is this selection played by an instrument or sung? 2. Is this metre two-beat or three-beat? 3. Is the song in a major or minor key? 4. Did you hear any accompaniment? 5. If so, what instrument did you hear? 6. During which lines does the melody seem to be climbing? When falling? 7. Compare the music of the first two lines with that of the last two. 8. Do you know anything about Robert Burns? 9. What other Scotch songs do you know? 10. Why is this song called a folk-song? WE MEASURE OUR FRIENDS' STEPS When we talked about the movements of our friends before, I told you of the accents that are one of the funda­ mentals of music. Will you understand those accents any better if I tell you that poetry has the same regular accents -that is one of the distinctions between poetry and prose. If you recite a single line of poetry you can notice that some of the syllables have an accent while others have not. Even Old Mother Hubbard went to the cupboard is accented regularly-that is what makes it easy to remem­ber. How is it accented? When people talk of this accent in music, they generally called it "time"; I suppose because the ticks or accents are regular like the ticks of a clock. If anybody asks you about the "time" of a piece, you must listen for the regular accents and then see how many light ones come in between. If there is just one light one, the music is in the two-beat measure, or metre; if there are two light beats between, it is in three-beat metre. Which dances are always in three­beat metre? Which use combinations of two-beat? There are many different combinations of these funda­mental metres, but you can at least learn to distinguish the difference between the two and three-beats this year. FROM THE LAND OF THE SKY-BLUE WATER Number 6 CADMAN All of the art songs that you have studied before have been the work of Europeans. But now you are to study some which are the work of American composers. Even the words of Cadman's song were written by an American, and the song is about something essentially American­the Indians. For many years musicians did not interest themselves in the crude music of these native Americans, but finally it was realized that, unless someone studied such music as the Indians still had, in a few years much of it would be for­gotten, and then there would be no record left of what they had had. One of the people who went to live among University of Texas Bulletin the Indians to study their language, customs, and music was Miss Alice Fletcher, who selected the Omaha tribe in Nebraska for her especial study. She gathered many curious bits of song and wrote them down in a book in which she tells of the life of those Indians. One of the customs which she describes is the Omaha courtship. As a young braYe was not allowed to associate with the young girls of the tribe, he would lie behind a tree or bush and watch for his lady-love when she went to the springs to get water. Then, instead of trying to talk to her, the warrior would either play on his flute to attract her attention, or sing to her a song which had a special meaning. It was a bit of such a love song that Cadman took as the basis of this song : From the land of the sky-blue water, They brought a captive maid; And her eyes they are lit with lightnings; Her heart is not afraid! But I steal to her lodge at dawning, I woo her with my flute; She is si.ck for the sky-blue water, The captive maid is mute. The music begins with a flute call. Do you hear a real flute or a piano imitating it? The melody is very simple, and the borrowed bit of Omaha music is repeated many times. How often do you hear J 11].J J l!J J@j II In this song you have a theme of a folk-song developed into a genuine art song. Do you remember the characteris­tics of a genuine folk-song? What did Cadman add to make this an art song? Simple melodies such as this have been the basis for many of the great musical compositions now known. 1. Is the flute call like anything you have heard before? 2. What kind of a voice has the singer? 3. Can you listen to the accompaniment? 4. Is it simple or elaborate? 5. How many times is the same rhythm repeated in the accompaniment? 6. Is the accompaniment the same to both stanzas? 7. Is the metre tw.o-beat or three-beat? 8. Is the key major or minor? 9. Why isn't this song a folk-song? 10. Do you know any other song about Indians? THE YEAR'S AT THE SPRING Number 10 BEACH Italy is a land of sunshine, fruit, and flowers. Life seems easy there because the people do not appear to worry or hurry, yet many of them have to work very hard and have little opportunity to enjoy what the world calls pleasure. I want to tell you of a little Italian girl called Pippa, but her real name was Felippa. She was very poor and had to work in a silk factory all day long every day in the year except New Year's Day. The story is about how she spent that day. In the. town where she lived there were several people who were about to commit some wicked deed on that glad New Year's day. Pippa did not know this; she thought of them as rich or important people. In her happiness over her rare holiday, she pretended to herself that she would be each one of these people in turn. Just in play she went from one part of the town to the other, visiting the home of each. Of course, she was not asked into the house; she merely passed by. Pippa was such an insignificant little girl that none of these people would ever have known of her being near, but for one reason. As she passed along, she sang. Her songs were expressive of such purity, happiness, and perfect faith University of Texas Bulletin in the goodness of everybody that each one of those who heard her was forced to change his plan and to do something better than he had intended. It was early in the morning as Pippa started out full of life and joy that she sang the song you will hear: The year's at the spring And day's at the morn; Morning's at seven: The hillside's dew-pearled; The lark's on the wing; The snail's on the thorn; God's in his heaven- All's right with the world! And when the day had passed, Pippa went to bed content to wind bobbins for another year. She did not dream of the good that she had done by being merely what she was-a ehild, satisfied with her few blessings, light-hearted, and un­afraid of what the world would bring to her. Could you be that if you had to work all day long winding bobbins every day in the year except New Year to earn only enough to buy something to eat and a place to sleep? You can find the whole story in a little play called Pippa Passes, which was written by Robert Browning, an English poet. Mrs. Beach, who wrote the music, is an American composer who has written many songs and other works. 1. Is the tone of this song sad or glad? 2. Does the introduction suggest the spirit of the song? 3. Is the accompaniment as simple as in Cadman's song? 4. Is this melody easy to remember? 5. Is the metre two-beat or three-beat? 6. Is the key major or minor? 7. Would this melody be just as interesting without the accompaniment? 8. Did the composer catch the spirit of the words? 9. On what day is "the year at the spring?" 10. Why was Browning interested in Italian life? LET'S CLASSIFY OUR FRIENDS When we talked about the faces of our music friends, I was introducing to you one of the elements of music which is most easily noticed by people who have not been taught how to listen to music. But the tune, or as musicians say, the melody, is only one of the elements to be noticed. The rhythm, or the pattern by which the music moves, is an­other characteristic which in some compositions is more attractive than the melody. Rhythm is the element of music that makes you want to move. Then there is that other element, harmony, which I described to you as coloring resulting from a combination of many voices or instruments. In some compositions all three of these elements seem to be of about equal importance, but in most music one or the other predominates and quickly attracts your attention. The ability to detect such differences in music is an evidence of musical judgment which I hope you are beginning to acquire. Let's try to classify all your old music friends into three groups. Listen to the melody; then think whether the composition has anything about it that seems to stir you up and make you want to move; finally consider whether you hear several voices or instruments of which the combined tone seems more interesting than either the melody alone or the rhythm. You will find this a new way of studying some of your old friends that you thought you knew all about. Musicians have two long words to distinguish the first of these groups-music that is purely melodic-from the last group-that which is primarily harmonic. These two words are homophonic and polyphonic. They are not as hard to understand or remember as they look. The last part of each is the same, phonic, and simply means "sound,'' as in tele-phone. Homo means "one"; homophonic means a single succession of sounds, or melody; polyphonic, a combi­nation of poly, which means "many," refers to many sounds or parts, as in the Military Symphony. In polyphonic music each instrument or group of instruments plays an independ­ent part-each having bits of the main theme in turn. The University of Texas. Bulletin homophonic music is simpler to listen to and easier to un­derstand, but the polyphonic is more interesting and excit­ing. To listen to it and to understand it, a higher type of musical intelligence is necessary. Which kind have you now? WITH VERDURE CLAD Number 11 HAYDN The oratorio from which this song is taken was composed by Haydn between 1796 and 1798 when he was an old man, but he spared no pains in trying to make it good enough, as he said, "to last a long time." The text was suggested to him by Milton's Paradise Lost, one of the greatest poems in the English language. The basis for the whole story of The Creation is the book of Genesis in the Bible. The opening portions of The Creation describe order and beauty emerging from chaos; the gradual clearing of the vast abyss follows; then the creation of the earth, sky, and light; at last come the fields, flowers, and living beings. The song you are to hear comes at the end of the account of the events of the second day. From the great mass "rolling in foaming billows," as the waters divide, emerge the green fields. With verdure clad the fields appear Delightful to the ravish'd sense; By flowers sweet and gay Enhanced is the charming sight. Here fragrant herbs their odours shed; Here shoots the healing plant; With copious fruit th' expanded boughs are hung; In leafy arches twine the shady groves; O'er lofty hills majestic forests wave. Haydn liked this text, and rewrote the music for it sev­eral times before he was satisfied with it. The song was received with favor the first time it was sung, and it has continued to be one of the most popular of oratorio selec­tions. The Creation, as a whole, holds a high place in musical literature. 1. What kind of a voice sings this song? 2. Is the melody simple or highly ornamertted? 3. Is the accompaniment played by one or more instru­ments? 4. Would this song seem suitable for church? Why? 5. Is it in a major or minor key? 6. What kind of metre is used? 7. Is this a simple song or an aria? 8. What is the difference? 9. Does the song seem to fall into any definite parts? 10. If you did not know the text, would you think this song a part of an opera? THE HOUSES OUR FRIENDS LIVE IN Did you ever think of your music friends as living in houses of which the composers were the architects? I be­lieve if you begin to think of them in this way you will have found still another way of being interested in them. A composer is indeed a very fine kind of architect; a musical composition is built by a definite plan which he works out before hand, just as a building is constructed only after somebody has decided on the type of building and drawn the plans showing the exact size, style, color, and many other details. Although there are many different kinds of build­ings, I believe you would think a person who did not know one kind from another, say a cottage from a church, very stupid indeed. How do you know one from the other? Somebody must have called your attention to some of the differences between the various styles of buildings. That is the way I want to help you to know something about the structure of music. There are songs, you know, which have only one main part. Suppose we compare that kind of a song with a house of only one room. Then there are songs and dances of two or three parts. Let's call music made up of two parts a cottage of two rooms, and those that have three different parts homes of three rooms. That makes a very simple way of understanding them, doesn't it? How is Amaryllis constructed? Is it a house of one, two, or three rooms? Which is Auld Lang Syne? We are only talking now of the big general plan of the composition. Even a structure of only one room can be studied in great detail ; the simpliest song is made up of smaller parts which you will study more in detail later. But while we are talking about the framework of a building, you must not forget that it is what goes inside the walls which makes a house a home, or a composition a work of art or only commonplace. But, you will ask, are there kinds of music of which the plans are as elaborate as of a cathedral or a palace? Yes, an oratorio is planned on quite as large a scale as a cathe­dral. Instead of many separate rooms or homes, many are connected together on a grander scale. Then, too, the basic idea underlying the construction of both cathedral and oratorio is the service of God. An opera may well be com­pared with a palace in structure and sometimes in decora­tion. There we find many groups of rooms connected by passages of many kinds, but all on a grander scheme than in a simple cottage home. Suppose we call the overture the entrance hall, from which one can catch charming vistas of worlds yet to be explored on the interior. Isn't the symphony with its four parts like a great four­storied apartment building in which each apartment is complete in itself yet is only a part of the great outside whole covered by just one roof? Each apartment may be furnished to suit the taste of the occupant, as the composer can write into each movement the spirit he wishes, yet the general style of the building is uniform throughout. To be able to name the various kinds of musical structures, you must hear the whole composition, just as you can not tell what kind of a building you are looking at unless you can see the outlines of the whole thing. If you should be shown only the inside of one room, you could not tell whether it was a part of a home, a church, or a palace, unless the furnishings gave you some clue. Sometimes the general style of the music gives suggestions like this; Caro Nome Making Friends in Music Land is a bit too elaborate to suggest the simple cottage of one or two rooms, isn't it? Will you listen to all your old friends again and try to find out in what kind of a house each one lives? TOREADOR'S SONG Number 14 BIZET The word "Toreador" is Spanish; it means a bullfighter. Bullfighting has been for a long time the national sport of Spain and Spanish-America. It is the regular amusement on Sunday afternoons. Four or more wild bulls are turned into a large pen or ring, around which the spectators sit as at a circus, but, of course, there is a fence between the ring and the people. As the bulls pass through the gate, sharp sticks are stuck into them to anger them and make them more eager to fight. Then men on blindfolded horses and other men on foot taunt the bulls with red cloaks to further enrage them. Sometimes the fighters are kil!ed; some horses always are. It is the work of the leading toreador to drive his sword into a vulnerable spot and thereby kill the bull. If he does it skillfully, the spectators, sometimes thousands, rise up in wild enthusiasm and pelt him with gifts-money, jewelry, hats, anything-as evidence of approval. The story of Carmen, the gypsy girl employed in a cigar­ette factory in Seville, who played with men's hearts reck­lessly until she was final1y stabbed by a jealous lover, you have probably heard. Do you remember the "Habanera" that she sang in the first act of the opera? The Toreador's Song, descriptive of a bullfight, is sung by Escamillo, a bull­fighter, who was also in love with Carmen. University of Texas Bulletin Suddenly the world is silent, the world is silent. Ah, what is coming now? Silence, all, all is hushed. Now the bull is bounding from his cage, foaming with rage! On he rushes, he waits the appearing! A horse is rolling, bearing down a picador. Ah! bravo! bravo! the crowd is cheering. The bull still runs, he comes, he comes, fighting them more. And shaking off the darts so stinging, By fury lashed he runs; the earth is filled with gore ! All are flying, they leap o'er the barriers! 'Tis thy turn, now gallant! Come on! Defend thee! Chorus. Toreador, defend thee, Toreador! Toreador! And ne'er forget while fighting for the prize, One whose heart is beating, with love in her black eyes. Toreador! Her love will be the prize. The civilized world is becoming more and more opposed to bullfighting on account of the needless risk of human life and the torment of the animals that take part. Many coun­tries have prohibited such· spectacles, but it seems hard for the Spanish-speaking world to give up this time-honored amusement. Bizet, who composed the music of the opera, was a French­man. After he became interested in the story of Carmen, he studied the characteristics of Spanish music so thor­oughly that his opera is probably the best known of those which portray life in Spain. 1. Is this song glad or sad? 2. Is it in a major or minor key? Or both? 3. If both, which part is major? 4. Is the metre two-beat or three-beat? 5. What kind of a voice has the singer? 6. If the melody is played by an instrument, name it. 7. How would you describe the accompaniment? 8. Is it important? 9. Which attracts you most, the rhythm or the melody? 10. Can the song be divided into distinct parts? Making Friends in Music Land CARO NOME (Dearest Name) FROM RIGOLETTO Number 15 VERDI Rigoletto is the story of a hunchback who was a court jester to one of the nobles of Italy several centuries ago. Neither he nor the duke had much sympathy for the troubles of others, and Rigoletto often laughed at the misery his master caused. Hidden away for fear some harm might come to her was the beautiful young daughter of Rigoletto, Gilda. In spite of her father's precautions, she had met the duke, Rigoletto's master, who had pretended to her that he was just an ordinary student. While the duke was making plans to steal Gilda, Rigoletto only laughed, little dreaming his own daughter was known to the duke. He found out too late, and when he tried to seek revenge by having the duke killed, it was his own daughter who was murdered. Then his enemies laughed at his despair as he had laughed at others. Caro Nome is the song of Gilda when she was very happy dreaming about her student lover. She little sus­pected that he was deceiving her. 1. Is this song simple or elaborate? 2. What is the musical term for such a song? 3. Is it glad or sad? Major or minor? 4. What metre do you hear? 5. What kind of a voice has the singer? 6. What instruments furnish the accompaniment? 7. Is the accompaniment as important as in the Torea­dor's Song? 8. Do you know any other song as elaborate as this? 9. What other operas did Verdi write? 10. Do you like simple songs better than Caro Nome? University of Texas Bulletin LARGO FROM XERXES Number 16 HANDEL This selection, which is word famous, especially as an organ solo, was written as a song in an opera called Xerxes. The opera, as a whole, has been entirely forgotten, but this one song has become a part of real musical literature. As the opera is never given now, you need not know the story, but you can remember that Xerxes was a great king of Asia Minor long before the Christian era. 1. Would you call this melody cheerful, or only serious and dignified? 2. Is the key major or minor? 3. Which is more important, the melody, rhythm, or harmony? 4. Is the metre two or three-beat? 5. Does the composition seem to fall into distinct parts? 6. If so, how many can you distinguish? 7. Is the melody simpler than that of Caro Nome? 8. What instrument plays the melody? 9. Which the accompaniment? 10. Does this music seem suitable for church? OVERTURE FROM MIGNON Number 22 THOMAS Do you know the story of the little Italian girl who was stolen from her castle home in sunny Italy and carried to Germany by a band of gypsies who made her dance to earn money for them? That little girl was Mignon whose famous song of homesickness you should know. It begins: Making Friends in Music Land Dost thou know that sweet land Where the orange flowers bloom In that song Mignon poured out her longing for the land of her fathers: 'Tis there that my heart desires to live, To live, to love, and to die. 'Tis there that my heart desires to live, 'Tis there! Yes, 'tis there! Perhaps you know some of the other famous parts of this opera, either the Gavotte or the Polonaise. In the overture, which is the music which the orchestra plays before the first act begins, you will hear some bits of these famous songs and dances. After the opening passages played by the wood-wind instruments, comes the melody of "Dost thou know that sweet land," played by the French horn. Then the spirit changes and you can hear the song of a girl who was as gay as Mignon was sad. Finally you will hear that song played by the whole orchestra. Do you hear any bits of the gavotte? The music of Mignon was composed by a Frenchman, Ambroise Thomas, but the story is by a great German writer, Goethe. When quite young he wrote a book called William Meister's Apprenticeship and in this he gave us the story of the little Italian girl who was so lonely and heart-sick in the cold of the German winter. I know you will be glad to hear that in the end Mignon was taken home to Italy and there found her father and friends. 1. How many different bits can you identify in the overture? 2. Is the metre the same throughout? 3. Is the key the same throughout? 4. Which instruments can you recognize? 5. Do you think the instrument that plays Mignon's song is well chosen? Why? 6. Does this overture try to tell a story? 7. Do you know any other overtures? 8. Which is your favorite? Why? 9. Which part of this one do you consider most beau­tiful? 10. In which is the rhythm most marked, Mignon's song or the polonaise? OVERTURE FROM OBERON Number 23 WEBER The story of Oberon was written by a German poet named Wieland. It is much like A Midsummer Night's Dream in that fairies are all mixed up in the story. Oberon was king of the fairies, and just before this story opens he and Titania, the fairy queen, had quarreled and Oberon had promised never to make up with her until "some fond pair,. thru weal and woe, mid flood, chain, and fire, should keep their plighted troth inviolate." At this same time there were a pair of lovers, Sir Huon and Rezia, away down in Bagdad, who were in great trouble but were determined to be true to each other. They had to. endure all kinds of hardships-shipwreck, capture by pirates, and the threat of death by fire at the stake--but through it all, by the help of the fairies, especially Oberon,. who rescued them in time of trouble, they remained faithful to each other. In the end they were happily united, and then Oberon could return to his fairy queen without having broken his vow. The overture to Oberon is considered one of the finest of Weber's numerous compositions. There are many romantic touches, as in the opening passages when you hear Oberon's horn which is answered by the muted strings. Does this music suggest a scene in the home of the fairies? Is the music light and delicate? The main body of the overture is announced by a crashing chord of the full orchesta; the brilliant opening measures of the main theme are taken from the accompaniment of a quartet called "Over the Dark Blue Waters." Then you may hear Oberon's horn again and the skipping fairy figure answers it. The second theme, taken from a song of Huon, is played first by the clarinets and then by the violins; the concluding part of a song, "Ocean, Thy Mighty Monster," sung by Rezia after the shipwreck, is played by several different groups of instruments in turn. There are all kinds of bits of the story woven into this overture-fairy marches, Oberon's horn, the song of mer­maids, a song of Sir Huon, and Rezia's song when she is rescued after the shipwreck. 1. Does this seem like program or absolute music? 2. Is it of the classic or romantic style? 3. Does it seem to fall into distinct parts? 4. Is it cheerful or sad? Major or minor? 5. What is the metre? 6. Which instruments can you clearly distinguish? 7. How many times do you hear bits of fairy music? 8. Does any portion make you feel like skipping? 9. Do you like this overture better than that of Mignon? 10. Which composer made the better choice of instru­ments? CLASSIFYING THEIR HOMES By recognizing the similarities between the structure of music and of buildings, you will be better able to under­stand the differences in style. As in architecture there is the Doric, Gothic, and the modern, so in music there is a type which is called "classical," another which is called "romantic," and still another which is known as the modern. You wonder what the difference is, don't you? Long ago buildings were constructed quite simply and many were very much alike. It was not considered quite proper to want to make something different. With music, it was just the same. Certain plans were in general use; when a composer decided on writing a song or an opera he was expected to use the plan that others used. Music writ­ten by composers who accepted the plans laid down by their predecessors is what is known as classic. It simply means University of Texas Bulletin that the composer did not originate the plans for his compo­sitions. At the opening of the nineteenth century there came a group of men who were tired of the plans then in use. They were bored with just two floors and straight walls. They wanted to build to suit themselves. If they wished to con­nect their rooms with winding passages, or make other unheard-of changes, they were determined to do it. These composers and their compositions are known as romantic, because the creator used his imagination. If he wanted to build rooms of only three, or of five or eight walls, he insisted on doing it. Naturally men who would wish to create new plans for their buildings would also furnish them in styles and colors which the classic builders would never have dreamed of or tolerated. And now after almost another century we have a group of architects and composers who propose to discard even the plans of their predecessors. As the architects use steel as an invisible support for their modern structures, so the composers of the present are trying to discard many of the old forms and to aEow their imaginations free play. In some mysterious way, they use a motive as a thread by which to connect the tangled mass of music which they create, just as the architect rears the massive skyscraper by means of beams of steel which you can not see when the work is completed. Who were the classic architects of music? Handel, Hadyn, Mozart, and Beethoven belong to this group. Chopin, Mendelssohn, and Shumann were the leaders of the romantic composers, and today Strauss and Debussy are among the so-called modern composers. Won't it be inter­esting, as you listen to each new selection, to try to find out which kind of a plan-whether classic, romantic, or modern--each composer used? ALLEGRETTO FROM THE EIGHTH SYMPHONY Number 24 BEETHOVEN In the Eighth Symphony the allegretto takes the place of the second movement which is generally slow. But instead of the serious spirit which you found in the slow movement of the Fifth Symphony, here you have a sprightly, even roguish, theme which is played alternately by one group of instruments and then by another. While the strings are playing the theme, you can hear the shuffling of the wood-winds in the background, as if keeping time for the main dancer. It is often claimed that the main theme of this jolly little allegretto was written as a farewell to a man who lived in Beethoven's time, named Maelzel. Mr. Maelzel had in­vented a little machine, now called the metronome, by which the rate of speed of music could be standardized. Instead of writing "slow," to give the performer some idea of how the piece should be played, if the composer wrote "sixty eighth notes to a minute," this little machine could be set to tick just the speed at which the piece should be played. I wonder whether Beethoven meant to make fun of the little machine when he wrote the theme of this allegretto which is supposed to say: "Fare thee well, fare thee well, fare thee well, dear Maelzel, fare thee well." If that was what he wanted to say, he certainly succeeded in making a laughing matter of it. Anyway, we can be glad that he wrote this Allegretto, for it shows that Beethoven could be really jolly when he wanted to. 1. Is this movement in a major or minor key? 2. Is the rhythm two or three-beat? 3. Would you call it program or absolute music? 4. Does it seem to fall into definite parts? 5. How many times do you hear the main theme? University of Texas Bulletin 6. How many different groups of instruments play it? 7. Which groups of instruments are most important? 8. Does the Allegretto remind you at all of the Fifth Symphony? 9. Which is more important, the rhythm or the melody? 10. Which of the Beethoven compositions that you know do you think most interesting? ALLEGRO FROM THE MILITARY SYMPHONY Number 25 HAYDN This symphony received its name, "Military," from por­tions of the second movement in which the brass instru­ments distinguish themselves by their martial tones. The movement you are to hear is the first, which is usually bright and cheerful. Hadyn finished this symphony not long before he began work on The Creation. Did you know that Haydn is known as the "father" of symphony writers? He wrote more than a hundred different symphonies, and he was such a careful worker that each group he completed was better than those he had written before. This is the way one writer has de­scribed the Military Symphony. "It opens with a slow movement of broad and even pa­thetic character. . . . The Allegro starts in with the fol­lowing theme, given out by the flutes and oboes: and is repeated in ever new instrumental combinations, leading into a play of questions and answers between wind and string instruments, which Haydn's successors have made use of so often. . . . The second theme enters piano. In spirit it is a lively march, and although at its first appearance it is quite subdued, the staccato marks re­lieve any uncertainty as to its meaning. The working up in the second part relies chiefly on this second theme [the little figure of three notes receiving much attentionl ; and when the double basses take it up, it rises to its full im­portance. The greater length of the movement, its in­genious harmonic treatment, and the stubborn character of the sforzando strokes after the second theme appears for­tissimo, the crisp staccato scales in broken thirds in the violins, stamp this Allegro as one of the most important that the master has left us, and establish his fame as the worthy predecessor of Beethoven." 1. What is your general impression of this movement? 2. Is it in a major or minor key? 3. Is it program or absolute music? 4. What is the metre? 5. Can you distinguish the first and second theme? 6. Which do you hear oftener? 7. Which instruments are most important? 8. Would you classify this as classic, romantic, or modern? 9. Do you like this movement better than the Alle­gretto? Why? 10. Can you hear the "crisp staccato scales in broken thirds" played by the violins? ANDANTE CANTABILE Number 28 TSCHAIKOWSKY A string quartette is a combination of two violins, a viola, and a violoncello. Many famous pieces of music have been written for this combination of instruments because to­gether they can 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 as accom­paniment to another. In the Adante Cantabile you will hear two themes, each of which is said to be a bit of an old Russian folk-song. This theme you will hear played over and over by each instrument in turn. The second theme which is especially haunting in character is rendered more subdued by the repitition in the bass. Wouldn't you think so much repetition would be tiresome? But is it, really? That is one of the ways a genius handles simple bits of material-he can say the same thing over and over to us in such a way that we are glad to go on listening. 1. Is this program or absolute music? 2. What is the general character? 3. Is there anything about it that would make you think it Russian music? 4. Is the key major or minor? 5. What is the metre? Does it change? 6. Which theme is easier to remember? 7. Which instruments play the repeated figure in the bass? 8. Does one instrument play the melody all the time? 9. Which is the more important, melody, rhythm or harmony? 10. Is this classic, romantic, or modern? AMARYLLIS Number 29 Old French Dance This dance is several centuries old and was once used as wedding music for a daughter of one of the kings of France. There is a light and graceful, but dignified, touch about Amaryllis which suggests the days of minuets and square dances. Do you remember the pattern of the gavotte? This dance, beginning on the third beat of a four-beat measure, corre­sponds to that pattern, doesn't it? It may also be classified as another type of music called the rondo. In a rondo the main part keeps coming back between the other parts. How many times can you hear the main theme? How many other parts are there? If you listen carefully to the first part of this dance, you will find that it is made up of four sentences, two of which are exactly alike all the way through. Which two of the four are alike? After you have found this out, listen. to the second part of the piece and see whether each sentence of that part begins alike. Then see whether they do in the third part. You are going to be surprised at the like­nesses you discover. 1. Is the rhythm more important than the melody? 2. In which part is the melody most singable? 3. What is the metre of this dance? 4. Is the key the same throughout the piece? 5. Is this dance classic, romantic, or modern? 6 By what instruments is the dance played? 7. Can you clap the rhythmic pattern of a gavotte? 8. How many parts does a dance usually have? 9. Are the parts alike or different? 10. For what instruments is this dance well adapted? University of Texas Bulletin LIEBESFREUD Number 30 KREISLER Although Kreisler is often thought to be the composer of this dance, he merely arranged the music for the violin, but by playing it on many of his concert programs he has made it world famous. The music had been known a long time in and around Vienna; it was one of the beautiful German waltzes very popular with the people of that region. Prob­ably it was a folk-tune originally; to many of these songs the people danced. In Vienna, as much as anywhere in the world, the people enjoy music and dancing. The name of this waltz is a combination of two German words which mean "Love's Joy." Kreisler, the Austrian violinist, became much interested in many of the German dances and adapted them for the violin. Do you know any others which he arranged and played? 1. What is the pattern of a waltz? 2. Can you clap it? 3. Does this sound like a _good dancing tune? 4. Which is more important, the rhythm or the melody? 5. Is there anything about it that suggests gypsy music? 6. Would you call this classical or romantic? 7. How many parts can you distinguish? 8. Do all waltzes have the same metre? 9. Is this waltz played by one or more instruments? 10. Has it an introduction or conclusion? DAGGER DANCE FROM NATOMA Number31 HERBERT Natoma is a story of life among the Spaniards and Indians in California at the time the Americans were just begin­ning to go there. For nearly three centuries from the time of its discovery, California was a part of Mexico, which at that time belonged to Spain. Missionaries from Mexico went to California and founded missions in which the friars lived with the Indians whom they tried to civilize. Other Spaniards settled there too, but nobody thought that Cali­fornia was of much importance until after the discovery of gold in 1849. By that time the state belonged to the United States. Do you know how it was secured from Mexico? Natoma, an Indian girl, worked in the home of a \Vealthy Spaniard, Don Francisco, whose daughter Barbara she dearly loved. Natoma: had fallen in love with a young American officer who had visited the home of Don Francisco while Barbara was away in a convent. On the day of this story, Barbara returned home, much to the joy of a Spanish cousin who planned to marry her. But the fates decreed that Barbara and the young officer should fall in love with each other at first sight. In front of the church where all of the town had gathered to welcome Barbara, Natoma danced the dagger dance with a Spanish partner. Listen to the harsh accompaniment and the accents. Do they seem to foreshadow trouble? At the close of the dance, when Natoma saw that the jealous cousin was about to kidnap Barbara, she killed him. Then, in order that Barbara, whom she loved better than herself, might be free to marry the young officer, Natoma entered a convent and became a nun. 1. Which is predominant in this music-the rhythm or the melody? 2. Does the dance seem to fall into distinct parts? 3. How many can you distinguish? 4. By what instruments is the dance played? 5. Is it in a major or minor key? 6. Is the metre two or three beat? 7. What is the outstanding characteristic of Spanish music? 8. What other Spanish dances do you know? 9. Is this at all like any of them? 10. What is there peculiar about the accompaniment? University of Texas Bulletin THE STARS AND STRIPES FOREVER Number 36 SOUSA This march, which is one of the most popular ever com­posed by an American, is the work of John Philip Sousa, who for many years directed the Marine Band at Washing­ton. As he realized that the American people as a whole were not sufficiently educated in music to care for the more elaborate compositions, he tried to compose music which, while not cheap, would appeal to them. In this he was emi­nently successful. His many marches, played all over the United States and Europe by both his own band and many others, have given to Sousa the title of the "March King." Yet Sousa worked against many hardships in making him­self the best known of American band masters. Do you like his music? Does it make you want to step up? What is it about music that has this effect? How many parts does this march have? Is there an introduction or a conclusion? What instruments do you hear, brasses or strings? What instruments are used in a military band? What are the "stars and stripes?" Do you know any other marches of Sousa? What is the key of this one? The metre? OUR FRIENDS THAT TELL STORIES Words tell stories ; pictures give us scenes or moods; what does music do? Some music undoubtedly tries to tell a story; you can feel that the deliberate aim of the composer has been to sug­gest to you a succession of events. The call of the horn, the imitation of birds or bells, the noises of battle, the rush of water-you have heard all of these. Such music is called program music. Much music of this variety is of a low type and is not intended to appeal to people of much musical intelligence, but there are pieces of program music which are masterpieces. Listen to the Ride of the Valkyries. In contrast with program music there is pure or absolute music. The creators of such music realized that words can Making Friends in Music Land tell a story better than music; pictures can give you details of scenes and people which music can only faintly suggest, but music can appeal to us in a way quite different from either. Music which is merely beautiful as music, as the Melody in F or the Adante Cantabile, is called pure or absolute music. Sometimes a composer gives a name to a piece which without it would be pure music. The name serves to sug­gest some idea he had in mind in composing. But, in many cases, the nameR have been given to compositions in order to appeal to people who cannot enjoy music without having it tell a story or describe a scene. Often ideas are sug­gested by the name which would not likely occur to you without them. The Swan is a good example of this. If yoti heard the music without knowing the name, you would call it pure music and probably never think of a swan; if you know the name you call it program music, and imagine you see the graceful movements of the bird on the water. Which kind of music is of the higher type? Which do you like better? INTERMEZZO FROM CAVALLERIA RUSTICANA Number 37 MASCAGNI The story of Cavalleria Rusticana, or the Rustic Cavalier, is one of love and jealousy which ends in a fatal duel, but the music of the Intermezzo suggests nothing of the tragedy. Coming as it does between the two parts of an opera which is filled with sordid details of Sicilian life, the simplicity and charm of the music is emphasized by the contrast. Opening with a combination of strings and wood-winds, the music shifts to a clear singing melody which is accompanied by a succession of rich harmonies played by a harp. The melody will haunt you; you will find yourself unconsciously singing or humming it. University of Texas Bulletin The full beauty of tone of many violins can only be ap­preciated after you have heard this music played by one of the great orchestras of the world. 1. Which is more pronounced, the rhythm or the melody? 2. Is there any portion in which the harmony contrib­utes especially to the interest? 3. In the accompaniment, what instrument is heard? 4. Is this music classic, romantic, or modern? 5. What is the key? 6. What is the metre? 7. Is this program or absolute music? 8. Do you know any other intermezzo? 9. Which do you like better? Why? 10. Which element is usually more pronounced in Ital­ian music, rhythm or melody? MELODY INF Number 38 RUBINSTEIN This melody was written as a piano composition, but it is now famous in many forms of vocal and intrumental ar­rangements. The lilting theme carries one to a world of flowers and spring time, but neither words nor story are necessary to make the music interesting and beautiful. This is an excellent example of pure melody supported by a very simple accompaniment. Would you call this "homophonic" music? Rubinstein, the composer, was a Russian, but he wa~ educated in Germany and much of his music is colored by German influence more .than by Russian. He was himself a wonderful pianist. Perhaps that is why this melody was originally arranged for a piano solo. 1. Is this program or absolute music? 2. What is the key? 3. What is the metre? 4. Is there an introduction or conclusion? Making Friends in Music Land 5. How many parts can you distinguish? 6. What instruments play the melody? 7. Which the accompaniment? 8. Do you like this melody better than The Swan? 9. Which has the more beautiful accompaniment? 10. What kind of a voice should sing this melody? MARSEILLAISE Number 39 DE LISLE More than a hundred years ago there was a terrible revo­lution in France. The poor people had been oppressed by the kings and nobles for centuries; at last the lower classes became desperate. They killed the king and queen and hun­dreds of the aristocracy of France. In the opening years of the revolution, there was a young man in Strasburg who was asked by the mayor of that city to write a martial song to be sung when a group of volunteers left for the battle front. It is said that De Lisle wrote the song, both the words and the music, in one night. At once it became popu­lar. Several .months afterward it was sung in Paris by a group of ruffian soldiers who came from Marseilles. That is the way that the people of Paris came to call it the song of "those from Marseilles." It was later adopted as the national song of France. Whenever it is heard, people are aroused to enthusiastic response. Such music has been a wonderful incentive to the French soldiers in the many wars they have fought since the song was written. De Lisle's contribution to France was greater than if he had been a general. Which do you think more effective, the words or the music? It has been said that the man who makes the songs of a nation actually exerts more influence than the one who makes the laws. Do you believe that is true? In what other composition have you heard the Marsei­llaise? University of Texas Bulletin 1. song? 2. 3. Ye sons of France, awake to glory, Hark, hark, what myriads bid thee rise: Your children, wives, and grandsires hoary, Behold their tears and hear their cries. Shall hateful tyrants, mischief breeding, With hirelings hosts, a ruffian band, Affright and desolate the land, While peace and liberty lie bleeding? To arms, to arms, ye brave! The 'venging sword unsheath ! March on! March on! All hearts resolved On victory or death. Now, now the dang'rous storm is scrowling, Which treacherous kings, confederate, raise; The dogs of war, let loose, are howling, And lo! our fields and cities blaze. And shall we basely view the ruin, While lawless force, with guilty stride, Spreads desolation far and wide, With crimes and blood his hands embruing? To arms! etc. With luxury and pride surrounded, The vile, insatiate despots dare, Their thrist of power and gold unbounded, To mete and vend the light and air: Like beasts of burden would they load us, Like gods, would bid their slaves adore: But man is man, and who is more? Then shall they longer lash and goad us? 0 Liberty! can man resign thee, Once having felt thy generous flame Can dungeons, bolts, and bars confine thee, Or whip thy noble spirit tame? Too long the world has wept, bewailing, That falsehood's dagger tyrants wield; But freedom is our sword and shield. And all their arts are unavailing. To arms! etc. Which element of music is most important in this What is the key? What is the metre? Making Friends in Music Land 4. To what kind of a dance is this comparable? 5. Is the song sung by one or more persons? 6. Is the accompaniment important? 7. For what kind of instruments is this music suited? 8. What instrument is imitated in the accompaniment? 9. What effect does this music have on you? 10. Is the effect increased by knowing the words? THE SWAN Number 40 SAINT SAENS Among musical compositions which are distinctive for their pure melody The Swan holds a high place. The back­ground of the melody-the accompaniment--is very simple. But clear-cut as a fine diamond, from that background soars a melody which attracts alike the trained musician and the casual hearer. It has been arranged in many forms for single instruments, various groups, and for large orchestras. It is a frequent favorite on concert programs. The swan has always been regarded as the symbol of grace and beauty both of form and movement, of dignified mien, and of poetic association. Swans have often been associated with the sadness of partings ; one often hears of a "swan song," which means a "farewell song." Even without the name this melody would command the admiration of all who hear it. Instead of asking you questions about The Swan, I am going to let you see how many questions you can make up which might be asked about it. Write them down and then we will see who has asked the best questions. APPENDIX NOTES AND SUGGESTIONS FOR TEACHERS The storit's may be read in any order desired. As a rule, the introductory stories should precede each group of stories which follow, but this is not imperative so long as all the articles are eventually read. The questions at the end of each story are merely suggestive; rnme of the quest'.ons cannot be answered by the children until prac­tically all of the stories have been read and the corresponding rec­ords studied. Do not feel that all of the questions must be answered. Piano arrar.gements of almost all the selections may be secured from any of the larger publishing houses, such as Presser, Schirmer, n:tson, or Wood. In some cases specific reference is made to one of these because the catalogue was at hand; it is not to be inferred that the publisher mentioned is the only one. Not more than a half dozen of the selections are published by only one publisher. For the benefit of the teacher who has to count the pennies, and there are many of these in Texas, attention is called to the Century Edition of music at 15 cents a copy. Piano arrangements of num­bers 1, 4, 14, 16, 29, 37, 38 and 40 may be secured in th'. s edition. Vocal solos of numbers 4, 14, 38, 39 and four-hand arrangements of numbers 29 and 37 may also be secured at that price. Any music dEaler will gladly supply you with a catalogue. Number 4 The Scotch words in the text have the following mean­ ings: gowans-daisies paidl'd-paddled fiere-friend right gude willie waught-draught of good-will stowp---measure or tankard For historical notes on the song, see Characteristic Songs and Dances of all Nations, edited by James Duff Brown (London, 1901), from which the quotation is taken. Number 6 The vocal solo published by White Smith Co. costs 40 cents. Miss Fletcher's book, The Omaha Tribe, is to be found in the 27th Annual Report of the Bureau of American Making Friends in Music Land Ethnology (Washington, D. C., 1911). An article by her entitled "Love Songs of the Omaha Indians," was published by the International Congress of Anthropology (Chicago, 1894). Number 10 This selection is to be found on the reverse of a record entitled Ah Love. but a Day. Number 11 The complete vocal score and piano accompaniment of The Creation may be had in the Schirmer Edition for $1. Number 14 The picador is one who sticks barbed sticks into the bull. Number 16 In the opera, the words set to this melody are addressed to a tree, as follows : There never was a lovlier tree than thou ; There never was a sweeter shade of a dear and lovely plant. Numbers 22-25 Numbers 22-25 can be studied well in the four-hand ar­rangements for piano. Numbers 24-25 are not available for piano solo. The technical musical terms used in the quotation in num­ber 25 have the following meanings: piano-soft staccato-disconnected double basses-the largest violins sforzando-with emphasis fortissimo-very loud. broken thirds-tones following one another which differ in pitch three tones of the scale. University of Texas Bulletin Number 28 May be secured for piano solo or in a Tschaikowsky Album. Number 38 Vocal arrangements of this melody are found under the title, Voices of the Woods. 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 bui.letins, 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 librar:es, 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 Un:versity Library, in addition to sending its own books and package librariE:s. 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. 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.) Music 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.) Faulknu, A. S., What We Hear in Music. The Victor Co. 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 Chil.dren. The Victor Co. Pan and His Pipes and Other Short Stories for Children. The Vic­ tor 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. Hamilt:m, C. G., Music Appreciation. Boston, Ditson & Co. Mason, D. G., A Guide to Music for Beginners. New York, 1913. Biography Cooke, J. F., Musical Playlets for Young Folks. Presser, 1917. Tschaikowsky, Modeste, The Life and! Letters of Peter Ilish 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. History Elson, Louis C., The History of American Music. The Macmillan Co.; 1925. Cooke, J. F., Young Folk's Picture History of Music. Presser Co., 1%5. (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. Stories *The Victor Book of the Opera. The Victor Co. *Wheelock, E. M., Stories of Wagner for Children. Bobbs-Merrill Co. Indianapolis, 1907. Hoffman, E. T. A., History of a Nutcracker. From Dumas' trans­lation. London, 1875. Pp. 159-313. Perry, E. B., Descriptive Analyses of Piano Work. Phil., 1902. Perry, E. B., Stories of Standard Teaching Pieces. Phil., 1910. Popular Song Collectiona Twice 55 Community Songs. Birchard & Co., Boston. Laurel Music Reader. Birchard & Co. A Golllen Book of Favorite Songs. Hall McCreary Co., Chicago. The Gray Book of Favorite Songs. Hall McCreary Co., Chicago. The University Song Book. University of Texas, Austin, Texas. (None of these song books exceed 25 cents for a single copy. Re­-ductions are made for quantity orders.) Pronunciation Allegretto Ahl-lay-gray'-to Allegro Ahl-lay'-gro Andante Ahn-dahn'-te Auld Lang Syne Old Lang Syn Beethoven Bay'-tow-fen Bizzet Bee-zeh' Caro Nome Kah'-roh No' -may Cavalleria Rusticana Kah-vahl-lay-ree-ah Roos-tee-kah-nah Chopin Sho-pan' Debussy Deh-bu-see De Lisle Day Leel' Escamillo Ays-ka-meel' -yo Gavotte Gah vott' Gilda Heel'-da 0 Goethe Gur'-ty University of Texas Bulletin Habanera Handel Haydn Intermezzo Kreisler Liebesfteud Marseillaise Mascagni Meister Metronome Mendelssohn Monophonic Mozart Natoma Oberon Oratorio Polonaise Polyphonic Rezia Rigoletto Rubinstein Saint Saens Schumann Sousa Strauss Thomu Toreador Tschaikowsky Valkyrie Verdi Weber Wieland Xerxes Hahbah-nay'-rah Hen'-dell High'-dn Inter-metz'-zoe Cry'-zler Lee-bess-froyd Mahr-say-yaiz' Mas-kahn'-nyee My'-ster met'-ro-nom Mend'l-sohn mon' -o-fon-ik Moh'-tsast Nah-to-mah O'-ber-on 0-rah-to-re~o Po-lo-naz' Pol-y-fon' -ik Ray'-tzee-ah Ree-go-let' -to Rue-bin-stine Sah-sahnz' Sho6-mahn Su-zah Strauz Toh-mas Toh-ray-ay-dor' Chi-koff' -skee Vahl,kee-ree. Vair'-dee Vay-her Vee-lahnd Zehr'-zehz