servatory has stood for serious music study ever since, and has grown in size and influence until it is probably the best known institution of the kind in America.)

Many institutions, with similar aims and established about the same time or at later periods, have become integral parts of the American musical education system, exerting great influence on American music life. (Among them may be mentioned the Boston Conservatory of Music, established by Julius Eichberg (1867); the Chicago College of Music, Ziegfeld (1867); the Cincinnati Conservatory of Music, Miss Baur (1867); the Oberlin Conservatory of Music (1867), now incorporated with Oberlin College; the Philadelphia Musical Academy (1869); Dana's Musical Institute at Warren, Ohio (1869); the Cleveland Conservatory of Music (1871); the Detroit Conservatory of Music (1875), and others of later founding. With these have sprung into existence a host of independent schools calling themselves conservatories, local in influence, whose methods of procedure and artistic ideals vary according to the purposes of their founders. Some of them doubtless are sincere in their aims, and strive to do work as thorough as their resources permit; but in too many cases mercenary motives are behind their establishment, and their entire workings are dictated by a commercial spirit.

DEPARTMENTS OF MUSIC IN COLLEGES, ETC.

The institution of departments of music in colleges is so intermingled with the founding of these independent schools that no sharp line of distinction can be drawn as to their early history. Here, too, the motives animating those concerned have been mixed. While serious educational aims have inspired some, in many instances expediency has ruled the situation, and the treatment of music education in colleges, particularly those for women, and in secondary schools has been one of confusion, and, too often, of low standards. The larger institutions are notable exceptions. As early as 1837 a society known as the Harvard Musical Association, composed of alumni of Harvard College, announced as its ultimate object

The advancement of the cause of music, particularly in this university. We would have it regarded as an important object of attention within its walls, as something which sooner or later must hold its place in every liberal system of education-and that place not accidental or a stolen one, but formally recognized. We that love music feel that it is worthy of its professorship, as well as any other science.

This statement, quoted by Ritter in his "Music in America," is a forerunner of many such avowals in recent years. While the object was not immediately realized, nearly thirty-five years elapsing before Harvard fully met the desires of its promoters, the time

has come when not only in that university but in others such recognition is accorded. But it was not until 1860 that a movement in that direction was made, and then it was step by step. First an instructor in music was permitted to do some teaching in certain subjects as an irregular part of the curriculum. Notable instances are Harvard, with John K. Paine, who began his work in 1862, reaching a full professorship in 1876; Oberlin College, Fenelon B. Rice, in 1869; Vassar College, Frederic Louis Ritter, in 1867; the University of Pennsylvania, Prof. Hugh A. Clarke, in 1875. Then came the granting of credit for certain courses in music toward the degree of A. B., Harvard taking the lead in 1870. Next followed the final step of granting credit toward entrance for musical qualifications, which has been taken only within the past six or eight years)

PROGRESS MADE.

The steps in the development of formal music education here concisely stated have occupied more than a century in the taking. If the progress made during that time does not compare favorably with that in other fields of educational effort, it should be remembered that many incentives so prominent in the others have here been lacking. Music has not been considered so vital a part of the political, moral, and social life of the nation as those arts upon which depends the earning capacity of individuals. Not only were its exponents compelled to clarify their own views concerning its purposes and methods, to find themselves, in short, but also to make head against a public opinion dominated by strong utilitarian ideals. The absence of unifying agencies has weakened, and too often nullified, the efforts of musicians, leaving them solitary and unsupported in their attempts to build up an educational music system. Yet, unsatisfactory as are many present conditions, the change from the unmusical psalm singing of the Puritans, the ambitious rather than musically satisfying concert performances of fifty years ago, and the low state of musical taste of a large part of the nineteenth century, to the artistic concerts, the immense attendance upon public performances, and the higher state of musical culture and critical acumen of the people now witnessed, is indicative of a long stride forward.

WORKS ON THE HISTORY OF MUSIC IN AMERICA.

Those who wish to investigate more fully the growth of music and music education in the United States are referred to the following publications, and to the list of works on music education on pages 83-84: Brooks, Henry Mason. Olden-time music; a compilation from newspapers and books. With an introduction by Professor Edward S. Morse. . . . Boston, Ticknor and company, 1888. [ix] xx, 283 p., front., illus. 12°.

"The design of this work is to give some account of music in 'ye olden time' in New England."-Pref.

Elson, Louis Charles. The history of American music. With twelve full-page photogravures and one hundred and two illustrations in the text. New York, London, The Macmillan company, 1904. xiii, 380 p., incl. illus., plates, ports., front. 4°. (The history of American art, ed. by J. C. Van Dyke.)

"General bibliography," pages 367–368.

[Howe, Granville L.] ed. A hundred years of music in America. An account of musical effort in America during the past century . . . together with historical and biographical sketches of important personalities. W. S. B. Mathews, associate ed. Chicago, G. L. Howe, 1889. ix, 6-715 p., illus. (incl. ports., facsims.). 8°.

Music Teachers' National Association.

Oberlin, Ohio, June 26-29, 1906.

ation, 1906. 200 p. 8°.

Papers and proceedings, 28th annual meeting, [Hartford, Conn.] published by the associ

29th annual meeting, Columbia University, New York City, Dec. 27-31, 1907. [Hartford, Conn.] published by the association, 1908. 284 p. 8°.

Ritter, Frédéric Louis. Music in America. New ed., with additions. New York, C. Scribner's sons, 1890. xiv, 521 p. 8°.

"Musical examples," pages 508–513.

Ryan, Thomas. Recollections of an old musician. New York, E. P. Dutton & Co., 1899. xvi, 274 p., pl., port. 8°.

Sonneck, Oscar George Theodore.

Early concert-life in America (1731-1800). Leip

zig, Breitkopf & Hartel, 1907. 338 p. 4°.
Bibliographical footnotes.

II. RESULTS OF THE INQUIRY.

The statistical tables contained in this work are based on questionnaires sent out by the Bureau of Education in 1907. Replies were received from 1,088 institutions. Of these, 381 gave no information which could be used, or were not organized institutions; 112 colleges, normal schools, and universities reported no music departments maintained; the remaining 595 furnished more or less completely the information desired. Financial statements were not made by 348 of this number. The resulting statistics have been classified so that the tabulations for independent schools of music, colleges and universities, colleges for women, normal schools, and secondary schools appear separately. A study of tables 6, 7, 8, 9, and 10 will show that the most important institutions in each class are represented. With perhaps two or three exceptions, all the leading independent schools of music are included. In each of the other classes institutions most influential in educational work have responded. In the 1906 Report of the Commissioner of Education, 577 institutions of higher education, not including schools of technology, are reported as replying to the inquiries of the Bureau. Two hundred and eight of these institutions, including those of highest rank, have responded to this first specific inquiry for detailed statistics regarding music instruction. It is fair to believe, therefore, that the statistics herein given truthfully reflect the conditions now existing in organized music education,

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INCORPORATION OF SCHOOLS.

It will be noted that of the 595 schools reporting, 281 are incorporated, 170 not incorporated, and 144 do not reply to this question. The following table gives this information in detail:

In schools which are not incorporated the financial management is usually in the hands of the director or proprietor. In the majority of cases the director and proprietor are one.

INSTRUCTORS AND SUBJECTS TAUGHT.

The total number of instructors in independent music schools reporting is 607. The number in each school varies from one to fifty-six. In many schools specialists and lecturers are called upon for special instruction, giving only a few hours a week to the institution. The hours per week devoted to their respective schools by individual instructors range from two to sixty. The average number for each instructor in the schools reporting is twenty. The subjects taught refer mainly to performance and composition and professional training. The various instruments, voice culture and singing, and theoretical subjects, with more or less attention to esthetics, comprise their curricula. In the largest conservatories modern languages are taught as a part of courses in singing, and dramatic action and operatic repertoire are given considerable attention. Technique, interpretation, and repertoire are the chief desiderata.

Of 334 universities and colleges for both sexes and colleges for women responding to the inquiry, 95 report no departments of music. In many of these glee clubs and orchestras are maintained by the students, but no specific instruction is given. The number of instructors engaged in 208 of these institutions is 974. The number of hours per week devoted by each to instruction ranges from two to forty. The majority give practically their entire time to the institution with which they are connected. The average number of hours per week for each instructor is twenty and one-half.

The subjects taught are the same as in independent schools of music. Instruction is given in practical music, from elementary work to concert playing and singing, theoretical subjects, history of music, and esthetics. While each is organically connected with its college or

university, educationally the tie binding them in the majority of cases is elastic, and they are managed as independent music schools, with the same musical aims and ideals. In universities and colleges of the highest grade, however, theoretical subjects, including harmony, counterpoint, canon, fugue, and composition are the institutional courses, practical music being totally ignored in some, and only incidentally cultivated in others. In them, as well as in a considerable number of smaller institutions, musical appreciation, including form and analysis, is offered as a regular course.

Replies were received from 130 normal schools, 98 giving statistics which could be embodied in this report. Vocal music, with especial reference to its use in the public schools, is the leading subject, many schools maintaining no regularly organized music departments. In those which do, the subjects and methods and aims of instruction are similar to those in the institutions already mentioned. Two hundred and twenty-five instructors are reported as engaged in giving music instruction in normal schools.

A statement of the work in secondary schools would be a recapitulation of what has already been said, with the addition that the standards of excellence and efficiency do not as a rule compare favorably with those in the institutions of higher education. Of the 228 schools reporting, 46 per cent employ one or two instructors whose entire time is given to the institution and whose duties are to give instruction in piano, singing, organ, violin, and theory. There are schools among the number reporting which have well-organized departments and well conceived courses of study. In some mention is made of the advantages accruing from the study of music in connection with subjects in the literary departments, and in a few instances the completion of a high-school course of at least three years is required before graduation in music. Attention here, as in many institutions in the other classes, is directed mainly to performance, with some emphasis on theoretical subjects. The number of instructors reported is 700.

STUDENTS ENROLLED.

The total number of students enrolled is 77,359. According to the Report of the Commissioner of Education, the enrollment of students in colleges and universities for 1907 was 149,700. The enrollment of music students in 208 of these institutions was 26,743, over 17 per cent of the entire number. Entrance requirements exist in very few instances. The shortest period for which students are received is five weeks in certain of the independent schools. The majority of schools do not receive students for a shorter period than ten weeks. In colleges and universities the shortest period is one