DISCUSSION. 523 
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Mg. Hour : We will have no need for a new notation if we only investigate the sub- 
ject according to the established pedagogical laws of teaching other branches. and 
;each music according to these laws. 1 have great respect for tonie sol-fa methods, for 
‘hey are the same as used by the movable-do teachers, but we do not need its written 
~haracters. Musie 1s the same whether sol-ta. or buckwheat notes. or the staff is used. 
Mg. Barron, of Canada: The tonic sol-fa is the most scientific system, and the 
ime will come when manv of vou will change your minds and use the sol-fa notation. 
-¢ What pupils, if any, should bs excused from the musical exercises of the schoolroom 2” 
MR. WaTr: Some pupils come from homes where they have private instruction, 
wnd are able to sing artistically alone. These should be excused where the singing in 
school is poor and out of tune. 
Mr. HowarD: I do not object to having my children sing in schools where they 
sing out of tune. It does them no harm, for they have the scale so well fixed in their 
ninds that it does no serious harm. 
Mr. H. H. Jomnson, Mansfield, Ohio: Sometimes, when the voices of boys are 
changing, I have excused them, 
Mgr. Howarp: It would not harm the voice to sing while undergoing a change, if 
he boy would sing within his proper compass, and not try to sing too high or too low. 
Mr. STEWART : [ would not excuse from singing except on account of sickness. 
Mg. 8. H. LicaTNER: If a physician said it would be injurious for the pupil to sing 
on account of throat difficulty, he should be excused until the physician considered it 
safe for him to sing. 1f the pupil has formed a love for singing, he usually wants to 
sing at such times, and is proud to be able to sing bass. If the teacher would occa- 
sionally express in school a desire for bass singing, and hope that some of the boys 
will soon have new voices that can sing a real bass, then when the change of voice 
comes the boys will be anxious to sing this part, and no one will want to be 
sxcused, if this matter is treated intelligently by the teacher. 
Reena M. CarnIN, Supervisor of Music in Public Schools, St. Louis, Mo. : My 
experience in teaching and in attending musical conventions leads me to the conclusion 
shat too much stress is laid upon methods and systems for instruction in vocal music. 
I'he successful teacher carries good methods unconsciously into his teaching. He 
orings his subject clearly within the understanding of his pupils, and uses such means 
as are suited to the condition of his pupils ; and by sensible exercises leads them step by 
step until they are able to sing with others, or alone. Faulty steps are pointed out and 
corrected, until the pupils learn to avoid them through good habits. A good founda- 
sion for musical knowledge is laid, and upon this may be built a permanent and 
jarmonious structure. 
As the art of breathing well is fundamental to good singing, the pupils should receive 
due training in this matter, especially as it is also important for sanitary effects. 
The lungs in singing have to furnish the air necessary to produce tones, as the bellows 
‘urnishes the wind to organ pipes, without which there could be no musical sounds pro- 
duced by the keyboard. Children should be trained to take the tone desired before the 
oreath is expelled from the lungs, and taught how to hold or prolong the same sound, 
also different sounds in succession. 
The lungs and throat must be made to grow strong gradually, as the voice is developed 
into good singing tones. The children should be led to express feelings in their singing 
rones. 
Vocal music should occupy an important place in the school exercises. It is the 
grand medium for developing the moral and religious feelings, and of communicating 
nappiness to others. 
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