The pupil must be led to see the distinguishing form and color characteristics in things to be represented, and he must associate with these the proper manual activities required to reproduce them in drawing or painting or any other form. This relation between motor expression und visual apprehension must be made so facile that the appropriate expression will follow more or less automatically upon the visual perception of facts to be represented. The whole process, on the technical side, consists in leading the pupil to give discriminating visual attention to the things he wishes to represent, and then making their motor expression so perfect that they can be reproduced without conscious effort. Of course in the larger aspects of art education there are involved many problems relating to the development of taste and the creation of artistic things; but these questions have not been taken up in the report. The theoretical part of the report, it seems to me, is based upon a metaphysical or even verbal psychology, which is likely to confuse the teacher and lead her astray rather than to lend her any assistance in her practical work. Terms are used describing mental processes with which I am not familiar. Take in illustration such a proposition as "the conception of a visual perception." I am unable to determine what this may be, and I find many statements of this character to which I cannot subscribe. I was placed on this Committee of Ten, I think, because of my interest in the psychological questions underlying art education, and I shall not attempt to do more than to offer a suggestion or two regarding the course of study which the report outlines. I am not competent to pass an opinion upon many of the details of this course, but while much that appears in the course seems to me to be sound, still I have noticed a few things which appear to be founded upon an erroneous educational philosophy. At the very outset the child is expected to study pictures, but for what reason is not apparent. If it is designed that he should study reproductions of great paintings in order to gain principles of technical and æsthetic value, then I should say that this work is altogether beyond the novice. If pictures are to be studied at all they must at the outset deal with the situations in which the child is frequently placed, and he must study a picture for what it expresses in the way of content, and not for its technique. He would not be expected to analyze words at the fifth year to become familiar with their mechanical properties. Then the report indicates specific objects which the child is to represent at different stages in its development, but I cannot see that any principle of selection has been followed, except the principle that to some extent the objects must represent form and color characteristics similar to those presented in the type forms being studied at the time. To my mind the report does not allow sufficient spontaneity and freedom in the selection of these objects; it would be better if provision were made for choosing the objects and situations with which the child has interesting relations in the experiences of everyday life. Then the objects would not be just the same in Utah as in Madison or Boston, and could not be indicated in any comprehensive way in a report of this sort. The child would keep close to his environment at all times, acquiring drawing as a means of expressing the objects and situations of interest to him. I should give a larger place to what the report calls "imaginative" drawing, where the child illustrates stories, indicating how he conceives the situations described. Imaginative drawing is, in the report, confined at first to isolated objects; whereas a child is interested in situations where such objects are related to one another in causing some event. At the outset the child does not profit greatly by critical study of isolated things. Again, illustrative drawing should occupy a more prominent place than the report provides for it. In this work the child acquires the right attitude toward drawing. He employs it as a medium of expression, and by means of it the teacher can keep in intimate contact with a pupil's mind, and see how he conceives objects and situations, and she can make good use of it to help the child to correct erroneous notions, and get him into the way of regarding things in their natural relationships instead of in isolation. (Signed) M. V. O'SHEA. I subscribe to the above report, approving, as I do, of its main features. The report is quite conservative, and yet attempts to be appreciative of all that has been clearly established by a study of children's drawings. The chief objection I have to the report lies in its omission to even discuss the stages of development in a child's drawing power. Yet this discussion clearly belongs in a report whose main object is "to determine, in the light of psychology, environment, and experience, a proper basis or bases for a course of study in elementary art education." Many of the most important questions in this field were formulated by the committee but have never been discussed or in any way incorporated into the body of the report. This is a most serious omission, leaving, as it does, the report as a merely logical discussion on a deductive basis. It seems to me that the question of sequence of material is the vital question in the curriculum. That, however, is not a question for logic to decide at all, but for child study. What material, what objects, what method, what technique are best adapted to develop the artistic nature at each successive period of growth? At what age do children progress most rapidly in art development? (1) On the side of appreciation? (2) On the side of production? What is the course of development in (a) appreciative power, in (6) executive skill? Should either be stimulated beyond the others? What is the relation of race and individual development in art? What is the relation of the adolescent period of a child's development to the unfolding of his artistic nature? That these are still unsettled questions is no reason for ignoring them. (Signed) HERMAN T. LUKENS. I offer the following statement of dissent from the report of the committee: 1. The psychological section of the report does not take into account the latest and most authoritative statements regarding the essential nature of art nor of the action of the mind in art creation. 2. The courses of study included in the report do not, in my judgment, meet the needs of the schools at the present time. They lay out sequences of class-room work which could have been followed ten years ago; but the betterment of school conditions and the awakening of more general and intelligent public interest in art and elementary education make possible a distinct advance beyond the ground covered in these courses of study. Respectfully submitted, JOHN S. CLARK. DEPARTMENT OF MUSIC EDUCATION SECRETARY'S MINUTES FIRST SESSION.-WEDNESDAY, JULY 9, 1902 The Department of Music Education met in the Andrew Presbyterian Church, Minneapolis, at 9:30 A. M., President A. J. Gantvoort in the chair. In the absence of the secretary, Mrs. Gaston Boyd, Mrs. M. L. Chapin was appointed to act as secretary. Miss Clara Thompson sang two numbers, and the president gave his greeting to the members. Mr. Thomas Tapper, of Boston, spoke upon "The Future Development of PublicSchool Music," and was followed by Hollis E. Dann, director of music, Utica, N. Y., upon "An Anomalous Situation, with Suggestions for Improvement." Both of these papers were discussed at the close of Mr. Dann's paper. Those taking part in the discussion were Messrs. Mountz, Corson, Marx, Cross, and Mrs. F. E. Clark. As a result of this discussion, Mr. P. C. Hayden made a motion, which was carried, that a committee of three be appointed by the chair to present at the next session the names of three members who should be instructed to formulate a plan of study for teachers of music in the public schools, this plan to be presented at the session of the department next year. Miss McClure, Messrs. Weaver, Tapper, Congdon, and others spoke of the work already being done along this line. The chair appointed as this committee Mr. Dann, Miss Brant, and Mr. Krinbill. The following persons were named by the chair as a nominating committee: The department then adjourned to Thursday at 2:30 P. M. Mr. Mountz. SECOND SESSION.-THURSDAY, JULY 10 The department met at 2:30 P. M., President Gantvoort in the chair. The opening number was an illustration of public-school music given by the Adams School chorus. Miss Elizabeth K. Fairweather, of Cincinnati, O., read a paper on "The Psychological and Ethical Influence of Music." Mrs. Frances Elliott Clark, superintendent of music, Ottumwa, Ia., presented the subject of "High-School Music." Mr. P. C. Hayden, of the School Music Monthly, opened the discussion, and was followed by Messrs. Krinbill, Johnson, and others. After a song by Miss Hiscock, Frank L. Nagel, musical director, Des Moines, Ia., read a paper on "The Musical Qualifications of a Teacher of Music in the Public Schools." Sterrie A. Weaver, of Westfield, Mass., opened the discussion, and Miss Wilson and Messrs. Fullerton and Weeks followed. A motion was made by Mr. Johnson that the incoming officers request of the president of the Department of Superintendence that a paper on "The Needs of Music in the High School" be given a place upon the program of the Department of Superintendence, which meets in the winter. The motion was carried. The committee to nominate a committee of three to formulate a course of study reported the names of Mr. Thomas Tapper, of Boston, Mr. A. J. Gantvoort, of Cincinnati, and Hon. O. T. Corson, of Columbus, O. A motion was made, and carried, to instruct the secretary to cast the ballot of the department for the nominees. The nominating committee presented their report, and the following officers were elected. For President-Mr. Sterrie A. Weaver, Westfield, Mass. For Vice President-Mr. W. A. Wetzell, Salt Lake City, Utah. A committee on resolutions appointed by the chair reported thru their chairman, Mr. Hayden, that the department desires to express thanks to the officers of the Association, to those who had provided music for the department, and to the chairman of the local committee. The department adjourned. M. L. CHAPIN, Secretary. PAPERS AND DISCUSSIONS AN ANOMALOUS SITUATION, WITH SUGGESTIONS FOR IMPROVEMENT HOLLIS E. DANN, SUPERVISOR OF MUSIC, ITHACA, N. Y. It is a trite saying that music is now recognized as a necessary part of the school curriculum from the kindergarten thru the high school. Ten years ago a poll of the foremost educators connected with the public · schools thruout the United States revealed the fact that they were practically unanimous in giving music a place in the daily program. State, county, and city superintendents thruout the country are practically requiring music of some sort. More than three-fourths of the common schools are studying music in one way or another, while city schools without music are considered decidedly unprogressive. It is no longer looked upon as simply a diversion, nor is it considered an incidental ornament to the school program. Its educational value is freely conceded. The eminent educators in practical control of the public schools have, with remarkable unanimity, welcomed music as an important part of the course of study. Thus far they have been consistent and progressive. Failure to take the next step places the school authorities of any state in an anomalous, illogical, and indefensible position in regard to school music. Upon the power that controls the admission of any subject into the public school rests the responsibility of making provision for its proper presentation. The licensing power is in duty bound to provide. safeguards against incompetence in the teaching force, to fix some standard of qualification for the teaching of every subject placed in the course of study. Of all the subjects taught in the public schools, music is the most harmed by incompetence or lack of skill on the part of the teacher; and yet, both as regards subject-matter and methods of presentation, music is, of all subjects, the most unfamiliar to the teacher. Add to this the fact that it is the one subject that is not required in the teacher's professional training, and we have a state of affairs which demands careful and serious attention. The situation is aggravated by a failure of the school authorities to fix a standard of qualification for the supervisor. Provide the grade teacher with competent supervision and she will in time gain a fair knowledge of the subject and skill in presenting it. This, however, the authorities. have signally failed to do. There is no standard set for the would-be supervisor, no test of qualification, no competent authority empowered to pass upon his fitness or unfitness. One may not teach reading or arithmetic without a license, but if he desires to teach singing in the schools, to be intrusted with the care and development of children's voices and their general musical education, he may enter upon his duties without a license, and without satisfying any required standard of fitness whatsoHe may not conduct a spelling lesson without satisfying the constituted authorities of his knowledge of the subject, but he may go on impairing the voices of thousands of children because of his ignorance of what should be the ABC of every supervisor's training, and no effective protest is made. ever. Another discouraging part of the matter lies in the fact that school boards and patrons do not detect bad and pernicious results. People in general fail to use ordinary common-sense and judgment the moment they come in contact with music or music teaching. Where in the field of education is there a parallel to the gullibility of the public as regards. vocal teachers? Given a lusty voice, with plenty of nerve and good advertising ability, and a veritable novice in music will make a good living teaching "voice culture" in almost any community in the United States. He needs only to proclaim that he has studied abroad with Shakespeare, keep his pupils constantly before the public, and the dear papas and mammas will swear by him, altho he may be literally breaking in two and straining beyond repair the voices of their children. If one of these papas has a promising colt to be trained, he will select a trainer only after the most careful investigation concerning his record as a caretaker and speed-maker. He will watch the colt's progress daily, and, on the first evidence of incompetence or failure to make speed, promptly change trainers. The same papa will send his only daughter to school for nine years and never once go to the school or interview her teacher. It is this unaccountable indifference and lack of appreciation of the evils and dangers involved, combined with the astounding stupidity of the public in its judgment of music teaching, that has made possible this anomalous condition in public-school music and allows its continu ance. It must be said, however, that the failure on the part of the public to |