Cincinnati Conservatory of Music - Pans Pipers Yearbook (Cincinnati, OH)

Page 94 text:

f , 6 19 ' ' ' H- PUBLIC SCHOOL MUSIC MRS. FORREST G. CROWLEY, Mus. M. Public School Musici uAnd all her parts are peace . '. 9: . - . 2'3 ; 12H, Page 88

Page 93 text:

Though she shows a lack of compunction for her mentor, brain fatigue is the one thing she considers most dangerous, and Which she guards against most assiduously. She is a zealous advocate of learn- inge-by proxy. The careless girl who shares your room, who keeps the dresser, the table and the piano in wild confusion with a bewildering litter of objects out of place. Who never hangs up an article, or folds it away in the chiffonier drawer when it is so much more convenient to drape it gracefully over a handy chair, to throw it artistichlly across the bed or to Hing- it temperamentally on the hoof. Who re- sents with acrimony your attempts to straighten up the place, and considers order in a room a horrible sign and dread portent of old maidishness . The intensive letter-writer, who sits at the desk with the die- tionary under her nose and, while on are attempting to concentrate on some task, inquires with mad ening persistence. Mildred, how tic you spell icompiimenti-with 9. Ci or a iK'T' Two seconds later: Dear, I hate to interrupt, but are there two 1's in traveling? Five seconds later: Now this is stupid, but I've just forgotten whether itis 'eii or tie in tniece'. Each separate query breaks the thread of your thought, and the dimculty increases to regain close attention. You grit your teeth and answer with labored politeness, hoping in the meantime that death and disaster will speedily overtake all the individuals with whom she carries on a correspondence, as the only way in which your tottering reason can be saved. The intensely sociable partner, with oh, dear, such multitudes of friends, who is everlastingly bringing them to the room for long and noisy visitFwith the clack-clack of tongues in fatuous and super- ficial conversation, and ringing ha-hasi' of merry laughter. She has what amounts to a positive genius for selecting inopportune moments when you have a severe headache and need rest, for ushering in these droves of acquaintances. Or else she chooses the morning practice hours, when you are on edge trying to prepare a difficult lesson which looms before you, as the most appropriate time for staging her in- formal at homes . The highly temperamental girl, who has absolutely no tolerance for those repulsively bourgeoisie qualities of practical common sense, sanity and self-control, and who thinks such ordinary traits should be relegated to oblivion in the case of the artistically inclined. She cannot conceive how real talent can be divorced from a perpetual show of moodiness, whimsicality, unrestrained rages, iickleness and wild caprice. She considers irresponsibility of conduct, eccentricity of appearance and manner, and a rooted scorn for established pre- cedent the halI-mark of true genius. So she demonstrates conclu- sively her ability to stand with the company of the elect, and measure up to the standards of lofty excellence, by her supreme devotion and unfailing enthusiasm for the bizarre, the outre and the unbalanced. The martyred girl, who is keenly afflicted with ingrown sensi- bilities and inflated self-importance. She takes offense with exas- perating facility, and is fond of translating your most innocent and haphazard remark into a fancied slur. Her pathway in life fairly bristles with difficulties, and she has the most terrible time in gen- eral securing the proper recognition and courtesy from others. Her friends never pay her sufficient deference. It is only by dint of re- peated apologies and explanations that they are able to reinstate themselves in her good graces-for they are always guilty, however unintentionally, of snubbing, insulting, criticising, misunderstanding, and fatally wounding her feelings. As a result, she wavers between hopeless melancholy and righteous indignation, at the sheer indif- ference, not to say downright malignity, of a coldwhearted world. --MILDRED GAREE.

Page 95 text:

PUBLIC SCHOOL MUSIC UBLIC School Music is quite a recent feature in our American schools. A little over seventy years ago, Dr. Lowell Mason became the father of Public School Music at Boston. Now there are three organizations: the National Conference, the Eastern and the Northern Supervisors, with teachers numbering into the thousands. The department of Public School Music was started at the Cincinnati Conservatory of Music in 1905, conducted by Mrs. Pace, with an enrollment of fourteen members. Miss Blanche Woody was the next in charge, and now Mrs. Forrest Crowley is at the head of this department. It is quite unfair to call Mrs. Crowley the head of this department, because she is the whole department itself. In 1923, a big step was taken which affiliated the Conservatory with the Cincinnati University, so that now the course offers a degree in Education in Public School Music. The slogan for the 1924 National Conference, which met in Kansas City, Missouri, was: uMueic for every child, and every child for music . The enrollment for the year 1924-1925 is sixty members, the largest in the history of this department. Public School Music in the Conservatory occupies a new position, in that it alfords the world of Supervisors a much broader field for musicianship, a wonderful opportunity for hearing music of all kinds, instrumental and vocal, more so than does a normal school or university. In spite of the fact that Public School Music is difficult for the person choosing mUsic as a profession, a greater number are attracted to this profession each year. Public School Music aims first of all to bring to the masses more and better music. Music must be a part of everyone's life, and not only for the musically gifted. People must be taught to appreciate the virtuoso and to become intelligent listeners. Years ago, the talented girl or boy planning a musical career found con- cert work, the opera, the orchestra or private teaching to be the only fields open. Today, the profession of Public School Music affords the greatest fields for opportunity, not only as an outlet for musical talent, but for unselfish service to a community. It is to this end that this department is hard at work. A course in Music Appreciation is now included in the Public School Music work. Mrs. Nell Sharp Tallentire, former State Music Supervisor of Ohio, is bringing to these appreciation courses an enthusiasm, inspiration and practical element that will aid tremendously in bringing to the average child in school a keener sense of music values and a higher standard in music. Mrs. Crowley says that 'tOut of our teaching music in the school will grow a great love for good music, community singing and orchestra, and out of these will grow a national music, for the lack of which we have been justly criticised. My years of expe- rience have proved the value of a music period; the children love it, and to me this seems to be one of its best justifications. It is a growth into something inspirational and beautiful, and while it requires a quickness of intellect, care- ful concentration, the joy of singing and playing appeals to the children. They not only acquire practical knowledge of the fundamentals and technicalities of music, but lay a foundation for a better understanding, that not only contributes to their own happiness and development, but adds to the cultural life of the community . eMARION LEHNE.