It is impossible to state briefly the various methods by which the relative strength of credits was computed for this table. In general, however, all reports were gauged by the following standard:

Good credit. Sufficient to insure the making in music of at least one-tenth of the total number of credits required for graduation. Or at this rate if on meager time as regards the number of hours per week given or the number of semesters allowed. Credit per hour to equal that given in other branches, according to whether preparation for recitations is or is not demanded.

Fair credit.-Sufficient to insure making at least one twenty-fifth of the total number of credits required for graduation, with the same provisions as the preceding.

Poor credit.-All below fair.

It was expected that a relationship would be discovered between the amount of credit offered for chorus work and the number of students enrolling in chorus when this is optional. A computation was begun on this basis, but was soon abandoned, as the expected relationship did not appear to the slightest extent. Probably the enthusiasm. and ability for leadership of the teacher are more weighty factors. Again, when chorus work is strongly credited, it is likely to demand more time and some study along associated technical lines; and, as it is not a major study, but must be added by most students to an already full schedule of hours, it can not be chosen, even by those who favor it most, unless it is administered as a comparatively light addition to their regular work. That chorus practice should be so poorly credited as it is, however, is either a reflection upon the value of the work done, the musical judgment of the school authorities, or the sense of justice of the school officials who fix the credits.

TABLE 15.-Chorus practice-Evaluation of the music sung with reference to “optional” or "required" plans.

The terms under which the chorus material used is classified may lead to an impression less favorable than the facts justify.

Under "strong" is included only material that is worthy of the attention of the average small choral society, such as cantatas by the best composers, short oratorios or oratorio selections, choral ballads, excerpts from operas, and some of the lesser and easier operas entire. These are used in larger schools for concert purposes, their preparation often constituting the greater part of the season's work.

Under "good" are included all the better supplementary octavo publications arranged for high-school use, and consisting of oratorio and opera choruses, as well as part songs of varying degrees of length and difficulty, but of unquestioned musical value, and also of several of the better song books for high schools that cover much the same ground as the octavos mentioned.

Under "weak" are included principally song books that are hardly beyond the standards recognized for assembly singing. These books are characterized by part writing that is rudimentary and implies no organized chorus drill, by subjects and texts that are commonplace, by editing that betrays lack of artistic conscience and musical knowledge, and by the inclusion of much material that has no value beyond the fact that it is familiar or popular and can be sung in any style without detriment to it.

Measured by these standards the table shows gratifying accomplishments in high-school chorus singing, over two-thirds of all schools reporting being aligned on the side of music that must be of value to those studying it.

It is worthy of note that where chorus is required the music is somewhat more advanced than where chorus is optional. Evidently the advantage gained through election to chorus by a proficient minority is more than offset by the gain in size, enthusiasm, and strength of support that is experienced when the entire school cooperates in chorus work.

1-100.

100-250.

250-500..

500-750.

750-1,000.

1,000-2,500.

TABLE 16.-Orchestras (and bands) — Membership, instruments owned.
[No report of bands was requested, but the reports voluntarily made are recorded.]

High-school enrollment.

2,500 and over.

The orchestras and bands added in parentheses are all such as failed to report their membership. Therefore the number of members given of orchestras and bands is the number found in the orchestras and bands not tabled in parentheses.

2 In the 43 instruments owned by schools of 2,500 or over. Rents instruments.

Just starting fund.

None; "but a number of high-school players play in Chattanooga Symphony Orchestra."

To the sum of 238 orchestras must be added an indefinite number in nine large cities; also a string quartet conducted by Charles A. R. Stone, superintendent of schools, Coldwater, Mich., who further teaches musical appreciation in the high school there.

To the sum of 4,181 members of orchestras must be added the combined membership of 46 orchestras not reported as to the number of members composing them, and also the members of the string quartet just mentioned.

The 192 orchestras reporting their membership have in all 3,037 members, an average of almost 16 per orchestra.

To the 295 instruments owned by the schools and available for practice and orchestral use to student members must be added "a number" in Boston and in New York City. Seattle reports in this connection, the practice of renting such instruments as are needed, and Minneapolis reports "just starting a fund" for the purpose of such purchase. Cincinnati, reporting 30 instruments, states that a fund of $750 was granted by the board of education and that the schools raised $325 more.

The report of Chattanooga, giving evidence of a fine articulation between the school and the community, is most interesting.

Disregarding the comparative amount of credit given, the figures are as follows: No credit given, 63.4; some credit given, 36.5.

A greater number of orchestras and instrumental ensembles, 239 in all, report upon their leadership. This report is as follows:

Conducted by

TABLE 18.--Leadership of orchestras and bands.

The supervisor of music 1

A special teacher..

A high-school teacher..

The high-school principal...

A high-school pupil................

The superintendent of schools (the string quartet before mentioned)

150

76

5

5

2

1

As to the credit given orchestral practice, a few words of comment are pertinent.

The number of orchestras and the number of players enlisted in them is cause for hearty congratulation; but proper recognition is not accorded such activity, as is shown by the weak credit given and by a large number of reports that reveal that the orchestras are not under school control, but are loosely organized and lightly regarded.

This means that orchestras are often managed in such a way as to secure no educational results, but are rather contributors to the social pleasures of the schools, and that they aim at no definite advance in musical education for the players and no advance in musical understanding for the hearers. Some knowledge, it is true, must result, but it is not knowledge of the beautiful in music.

The possibilities and functions of orchestral playing were reviewed in a preliminary report of the committee on music, acting under the committee for the reorganization of secondary education for the National Education Association. This preliminary report was read at the meeting of the National Education Association in Salt Lake City, July, 1913. The following are quotations from it:

This branch of musical study and practice should be an invariable offering. It should be open to any student qualifying for all four high-school years.

1 In addition, Seattle reports its orchestras as conducted under both of the first two plans given.

The musicianship that results naturally from ensemble playing is more advanced than that which arises naturally from ensemble singing. More hours of practice and preparation are necessary before successful participation is possible; the expression of the musical thought or impulse is less direct than in singing and becomes a matter, therefore, of greater reflection; the mechanical nature of the medium of expression makes sight reading and a knowledge of staff notation more exact; the number and diversity of the orchestral parts-diversity in pitch, tonal quality, and rhythmic procedure-make the whole a richer complex than is presented in chorus work; and this complexity and variety has attracted composers to orchestral expression for their greatest works.

Nevertheless, the course in orchestral ensemble must be guarded, if it attains its best ends. The following recommendations are therefore urged:

First. The instruments should be played in the manner of their solo capacities, the ideals of chamber music and the refined treatment of each part in a symphony orchestra being ever kept in mind.

Second. Music should be selected that, however easy, still recognizes these particular values for each and every instrument.

Third. The orchestra should be considered an orchestral class or orchestral study club primarily, and a factor for the diversion of the school only incidentally.

Fourth. Instruments should be bought by or for the school, to remain school property, and these should be loaned, under proper restrictions, to students who will learn to play them. The rarer instruments, such as the double-bass, timpani, French horn, oboe, bassoon (or any less rare that are yet usually lacking in any particular school), should be bought. Only by such means can orchestral richness and sonority be secured, the real idiom of orchestra be exemplified, and advanced orchestral literature be made practicable to the students.

Fifth. Seventh and eighth grade orchestras, similarly conducted and equipped with a like generous outfit of school-owned instruments, should be organized as training schools for the high-school orchestra.

Reports of bands were not requested, but all voluntarily reported have been tabulated. The band has a worthy function, and if administered in accordance with the aims just outlined for orchestra, may serve better purposes than merely advertising the school-while continuing to do this. Its varieties of color are, however, inferior to those of the orchestra, and the literature of its instruments, either singly or in ensemble, is notably poorer and more meagre than that provided by the great composers for the orchestra. It is consequently a far less valuable service to a boy to enlist his interest in band than to enlist it in orchestra.

Academic: Musical history, musical appreciation, harmony.-In studying the accompanying tables the following explanation needs to be borne in mind:

First. The total number of schools reporting is divided between two columns. Those in the first column reported the subject, but did not report the number of students entered in their classes. Those in the second column did so report, and the aggregate number of students entered is therefore stated in connection with this number of schools.

Second. The schools are grouped under plans A, B, and C. By plan A is meant the study of the subject in a formal way, as a well-defined, separate branch. By plan B is meant the study of the subject in combination with one or more of the other branches reported, as history and appreciation combined, or elementary theory and harmony combined. Many of these combinations are quite proper and desirable, and imply by their adoption no indefiniteness or weakness in the course. Indeed, 50698°-14-3