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you too narrow for art instruction, but you'll find out some of the things that are still hazy to your student and he'll find there are some few definite things among the many more or less indefinite, and will realize that he needs to be more awake in the drawing-class.

In groups, the only added problem is to get the larger objects on paper without crowding and to be sure that each object has plenty of table space. If blocking-in and completing bases has become a habit these points are taken care of.

If the step to rectangular objects is made simply by posing a berry box or similar object and nothing is said at first of the perspective problem, it is taken more easily and naturally. I like to use Fred H. Daniels little railroad track scheme as given in the Schools Arts Book, and which illustrates in so familiar a way the fact that "distance makes things smaller and grayer." We can apply it directly to our box or book; can see why parallel receding horizontal edges incline toward each other; can understand that if parallel, receding, horizontal edges converge in the track, and down the hall and in the larger box that the same thing is true in a small cube or book and we must draw it so, even though we cannot see this convergence.

Our principle of horizontal planes is still and always will be needed. After studying a few boxes and good-sized cubes we prove a few of each students' carefully, by extending edges with a string. Then he can see that parallel, receding, horizontal edges not only appear to converge to a point on the level of the edge but must be drawn so that, if extended they will meet on the level of the eye if the drawing is correct.

After practicing on cubes in all positions it is a good test to draw two lines of a cube on the board or in blue pencil on paper for the student to complete and then locate, that is, tell whether above or below the eye, parallel or at an angle to the observer.

In studying the posed rectangular objects so often the relation of the objects to the edge of the shelf or table on which it is placed is confused with its relation to the observer. This is especially troublesome if the table is not directly in front of the student. The use of a picture plane, if thoroly understood, will help clear this point. By picture plane I mean an imaginary, vertical plane always parallel with the observer and which is represented by the paper of the student. For illustration, I use a common window screen. By holding this parallel with the student and near the object he can readily see that the relation of the object to his individual picture plane has nothing to do with the relation of object to edge of table which he is not drawing; also that the vertical edge nearest the picture plane is the edge that must be drawn nearest the bottom of his paper. He can also understand more clearly that when a rectangular object is parallel to the picture plane the top or bottom and front face only show, when at an angle three faces show. Then to, it is often a help to draw with chalk on the screen to clear some point.

Sketching cubes, plinths, etc., and transforming into piles of books, tables,

stools, or skeleton chairs, i. e., a chair with only one line for rungs and legs keep the student interested and help him to see the necessity of being able to draw cubes and other rectangular framework well, that is without struggling. After this stools, tables, and chairs from the objects themselves are much more intelligently reasoned out.

For testing angles I like to use the two little strips of paper, but not till after they have had considerable practice in perspective, as they are apt to depend upon them too much if given at first.

In the first simple interiors or exteriors, after locating the level of the eye and blocking in main angles, it seems best to test these and correct before going farther, as the angles are hard to judge at first. In the square legs of a chair drawn parallel to the end of a hall, etc., the student learns the exceptions to the rule that only the top or bottom and front face show in a rectangular object when parallel to the observer. It is less confusing to learn these exceptions to the general rule at this time than at the beginning.

It seems best to me in all of this drill in getting the multiplication table of drawing to work in outline. There can be no "mumbled English" places that do not show as such. Each line says something, therefore the student has to study to tell the things frankly and squarely.

In beginning the light-and-shade work in pencil this little scheme has been a help both in pencil-handling and in the understanding of the difference between light and shade, and light and dark. First, make a scale of five values using a standard scale to work from, then a series of small drawings working from a scale numbering the values from light to dark. Obj. 1, B. G. 3, F. G. 2; Obj. 4, B. G. 1, F. G. 2; Obj. 3, B. G. 1, F. G. 4; then Obj. 1, B. G. 3, F. G. 2, showing H. L., light and shade, and cast shadow and then the dark and medium value object in same way. In the study of more difficult objects, work very directly with the fact impressed that no erasing can be successfully done in a light-and-shade pencil drawing as it destroys the surface of the paper. The groups must be so lightly sketched in that the lines used become a part of the tone, the aim all the time being to leave out just as much as possible and tell the story clearly.

Tinted papers with a touch of colored crayon add interest to the later work. A very thin water-color wash over the pencil is interesting especially for little roofscapes from the upper windows. Whether the student becomes a housekeeper, dressmaker, milliner, teacher, architect, engineer, or what not, he will find the little pencil ever ready to help him and he can often save hours of writing by a simple drawing, to say nothing of the pleasure and appreciation it affords him. Students usually like to work in pencil and by sketching with them, showing your sketchbook, copies of the pencil-work of Woodbury, Hornby, Vernon Howe Bailey, and others, you can influence them to do much more along this line to form a habit. Charcoal tone studies worked in a big decorative way are very helpful and most fascinating to the student. I like to put this after the pencil-work because it is more showy and students are there

fore not so easily interested in pencil after the tonework. At first limit the tone studies to three values--later use four or five. A group strong in contrast of dark and light or a brown and white bean jar is a good object to start with. Common white paper is all right. First decide what values are to be used and where and make a note in the corner of paper; then make a medium tone all over the paper, rubbing down the charcoal with a soft cloth, or better still a sponge rubber. Wipe out the lights and put in the darks, keeping all tones flat and making the spotting very simple. Tinted paper adds interest. Select a color that will represent the light side of the lighter object and proceed as when white paper is used. Colored crayons that are not waxy may be used to suggest the other colors in the groups, and chalk the high lights. Common ingrain wall paper works well if you can get no other, or you can take more time and color the paper with vegetable or "Easy Dyes" and get most beautiful results.

Nature-sprays, fruits, vegetables, bits of buildings and pose all lend themselves nicely to this treatment, and as you cannot erase much without losing the flat tones it is excellent practice in direct work.

A tone study on white paper can be fixed, the white paper wet and color washes added in a very satisfactory way. Heavier paper often works best for this. By gradually decreasing the charcoal tone, that is, making it lighter each time, and using the color in fuller value, the step to light and shade in color is made easier. Backgrounds are difficult as we all know from our student days, too difficult for average high-school students it seems to me. Using tinted paper as background and relating the drawing to this background so all is harmonious, is more within the limits of the time and ability of the average student, and about as far as we can hope to take him in four years' work in a course well balanced in representation, composition, and construction.

DEPARTMENT OF MUSIC EDUCATION

SECRETARY'S MINUTES

FIRST SESSION-TUESDAY AFTERNOON, JULY 9, 1907

The Department of Music Education met in the First Congregational Church and was called to order by President Hamlin E. Cogswell, director of Conservatory of Music, Indiana, Pa., at 2:30 P. M.

The session was opened by music by the Krause String Quartette, of Los Angeles, with Op. 18, No. 6, Beethoven, as follows: (a) “Allegro con Brio;” (b) “Adagio ma non troppo;" (c) "La Malinconia Adagio;" (d) “Allegretto."

President Cogswell introduced the exercises with brief introductory remarks.

A paper by Frederick H. Ripley, principal of the Longfellow School, Boston, Mass., on "The Ideal Music Supervisor," was read by Arthur C. Wahlburg, Fresno, Cal.

The Los Angeles Normal School Glee Club, under direction of Miss Hagan, sang a part song, "The Rose Is Such a Lady"-Gow.

The department then went into a committee of the whole to consider the report of the Committee on Uniform Course of Study, which was presented at the Asbury Park meeting in July, 1905, by the chairman, Philip C. Hayden (see pp. 667, 668, Vol. of Proceedings, 1905).

At twelve o'clock the department adjourned to meet in round table session on Wednesday morning.

SECOND SESSION-WEDNESDAY MORNING, JULY 10

The department was called to order at 9:30 by President Cogswell and resumed the discussion on a "Uniform Course of Study," which was commenced on Tuesday afternoon. After a discussion continuing thruout the entire session the department, on motion, unanimously adopted the report in question, and the committee was discharged. The department then adjourned.

THIRD SESSION-THURSDAY AFTERNOON, JULY II

The department was called to order by President Cogswell at 2:30 P. M., and opened with a violin solo by Mr. Natrop Blumenfeld, of Los Angeles, who presented the following numbers. He was accompanied by Miss Orrie Coons. (a) Romance, G major, Beethoven (b) Serenade, Moszkowski; (c) Mazurka, Zarzycki.

Miss Estelle Carpenter, supervisor of music, San Francisco, Cal., addressed the department on "The Vitalizing of the Child thru Song." Mrs. Frances E. Clark, supervisor of music, Milwaukee, Wis., led in discussion of Miss Carpenter's paper.

A demonstration of rhythm was then given by Secretary Hayden, assisted by a pupil from his schools in Keokuk, Iowa, Miss Elizabeth Warwick.

A paper by Miss Fanny Edgar Thomas, representative of the New York Musical Courier, on the subject, “Free Musical Education a Necessity for the National Musical Art," was then read.

The president appointed the following Committee on Nominations:

George E. Krinbill, of Arizona
Miss Estelle Carpenter, of California

P. C. Hayden, of Iowa

The department adjourned.

FOURTH SESSION-THURSDAY AFTERNOON, July 11

The department met in round table session. The topic for discussion was a paper presented by Charles I. Rice, supervisor of music, Worcester, Mass.

The Committee on Nominations reported

For President-Mrs. Frances E. Clark, Milwaukee, Wis.
For Vice-President-George E. Krinbill, Bisbee, Arizona.

For Secretary-Ida M. Fisher, San José, Cal.

On motion, the secretary cast the ballot of the department for the nominees, and they were declared elected for the ensuing year.

President Cogswell offered the following resolution on music in normal schools:

Believing that the normal schools of our country should in every instance provide for a liberal professional training in all subjects taught in our public schools, and believing that in a majority of cases such is not being done in the subject of music, we, the members of the music section of the National Educational Association do hereby present in the form of a resolution, what we believe is necessary in the training of every normal-school graduate, and we recommend that this be printed and a copy of the same be placed in the hands of every normal-school principal for his or her careful consideration and be taken up for careful discussion at our next regular meeting.

Resolved, First-That the entrance requirement necessary before taking up the regular normal course, should be equal to that outlined in the course of study adopted by this body for the eight grades of our public schools. Such preparation to be afforded those who need it, in a sub-normal course of daily instructions during the junior year.

Second-That in addition to the above, normal students should study melody writing, elementary harmony, counterpoint in two parts, much chorus singing, and in addition to this at least one term in private training for tone production, and care of children's voices; credit to be given for any of the above work done in high schools.

Third-That at least one term should be devoted to the study of methods of teaching music, as well as psychological principles underlying each step, and to be instructed in the art of conducting all recitations.

Fourth-That every normal graduate be required to teach the various phases of the work during the senior year, either in the various grades of the training-school or to other members of the class, and continue to do so in the presence of a critic teacher until the work done is satisfactory.

As it was impossible, owing to the lateness of the hour, to discuss the resolution offered it was, on motion, ordered that it be printed and sent to the presidents of the normal schools in the country for their consideration, and that it should be taken up for full consideration at the next annual meeting.

It was voted that an effort be made to establish affiliated relations between the department and the Music Supervisors' Conference. The following committee was appointed: Mrs. Frances E. Clark, of Wisconsin. Ida M. Fisher, of California.

George E. Krinbill, of Arizona.
Philip C. Hayden, of Iowa.

On motion of Miss Estelle Carpenter, of California, the thanks of the department were extended to Philip C. Hayden for his efficient services as secretary of the department for

many years.

President Cogswell, on behalf of the department, extended thanks to Miss Kathryne E. Slone, Miss Verna C. Blythe, and Mrs. Parsons, of Los Angeles, for their valuable assistance in arranging for the department meetings, and for various courtesies and also to those who had furnished music for the department meetings.

The department then adjourned.

PHILIP C. HAYDEN, Secretary.

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