DOCUMENT RESUME

ED 219 172 RC 013 458

AUTHOR Haack, Paul A.; Heller, GeorgeTITLE Music, Education and Community i eteentn-Century

Kansas: Euterpe, Tonnies, and the Academy on thePlains. Country School Legacy: Humanities on theFrontier.

INSTITUTION Mountain Plains Library Association,, Silt, Colo.Country School Legacy Project.

SPONS AGENCY National Endowment for the Humanities (NFAH),Washington, D.C.

PUB DATE 82NOTE 60p.; Pages containing music will not reproduce

well.

EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS.DESCRIPTORS Acculturation; American Indian Education; Catholic

Schools; Cultural Interrelationships; Curriculum;*Educational History; Educational Legislation;Elementary Secondary Education; Higher Education;Immigrants; Music; Private Education; PublicEducation; *Rural Education; *School CommunityRelationship; Teachers

IDENTIFIERS *Country School Legacy Project; *Kansas; MissionSchools

ABSTRACTMusic, education, and community and the interactions

among these three factors in Kansas during the 19th century offer anopportunity to study the role and function of music education in asociocultural context. From 1824-1899, 16 Catholic missions wereopened in Kansx4.1or American Indians. These schools used music as an

adjunct to acadexiqc instruction, religious indoctrination, andacculturation. Beiore statehood in 1855, most white settlers'children went to subscription schools. After statehood, whiteimmigrants flooded into Kansas, pushing most American Indians offtheir land, eliminating all but two missions. The two missions whichremained did so by opening their doors to white students and bybecoming institutions of higher education. With statehood also camethe establishment of public schools, guidelines for district board,in the hiring of teachers, and standardized curricula whichemphasized Americanization. In addition to legislation in 1870 urgingmusic education in the schools, communities were affected by railtransportation, which brought musicians into the state. Countryschools were maintained by the community and utilized by thecommunity for celebrations of everything from federal holidays totrivial local events. Singing was a big part of community activities,which were often highlighted by the local band or orchestrapresentations. (AH)

***********************************************************************Reproductions supplied by EDRS are the best that can be made

from the original document.**********************************************************w***********

COUNTRY SCHOOL LEGACY: Humanities on the Frontier

MUSIC, EDUCATION, AND COMMUNITY IN NINETEENTH-CENTURY KANSAS: EUTERPE,

TONNIES, AND THE ACADEMY ON THE PLAINS

Paul A. Haack

George N. Heller

The University of KansasLawrence, Kansas

Funded by the National Endowment for the Humanities,,

Sponsored by the Mountain Plains Library Association

_ --

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

. 1 L L

0 UkfItzi (:)icci., (-ItTO THE EDUCATIONAL RESOURCESINFORMATION CENTER (cRIC)"

1982

U S DEPARTMENT DP EDUCATION

NATIONAL INSTITUTE OF EOUCATIONEDO( ATIONAL RESOURCES INFORMATION

CENtER IfkiC/ht' flouhrht,t htis hetth atprImilof Off a yrpre.I.,1 trot", the' person or ontartqw,,,NorlIttntltinq It

Minor r Ntht4hs hay., Neon Old it to tt110,),PIfprOdt f 111.1 ritit,P,',, ,, 0 ,... Or 01.(7,,,,tarlYi In thus cl,r .1111,11k, ,n, ,..c(.5,1fily INprhshnthIN Fi NIth.,Fh(mc,rooky

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MUSIC, EDUCATION, AND COMMUNITY IN NI TEENTH CENTURY KANSAS

EUTERPE, TONNIES, AND THE ACADEMY ON THE PLAINS

By

Paul A. Haack

Professor

and

George N. Beller

Associate Professor

The Department of

Art and Music Education

and Music Therapy

311 Bailey Hall

The University of Kansas

Lawrence, Kansas 66045

(913) 864-4784

COUNTRY SCillooL LEGACY ADmintsTRATME STAPP

Proles DietrichAndrew Out MonkColorado Mountain College/Mb Elementary SchoolMk Colorado

Media DireciorRandall TesuwenPhew° AmericaPort Collins. Colorado

Exhibits Director:Berkeley LobanovDenver. Colorado

Elm ad AgentJoseph EdelenI. D. Weeks LibraryUniversity of South WinesVermilikin, South Dakota

4COUNTRY SCHOOL LEGACY: HUMANITIES ON THE FRONTIER

The Mountain Plains Library Association is pleased to be Involved In thisproject documenting the country school experience. Funding of this projectfrom the National Endowment for the Humanities. cost sharing and othercontributions enabled us all to work with the several state-based HumanitiesCommittees as well as many other Mate and local libraries, agencies andinterested citizens. We are-deeply, impressed not only by the enthusiasm forthis work by all concerned but by the wealth of experience brought to bear infocusing attention onand recapturingthis Importas it pert of history andhow we got here. This project seems to identify many of the roots and -character formation" of our social. political and economic institutions in the west

Already the main Project objective seems to be met. stimulating library usageand Increasing circulation of historical and humanities materials In this regionPublic interest is rising In reffional. state and local hiseory.Oral himorvprogramsare Increasing with greater public participation. The sturlyol genealogyandthe search for this informationis causing much Interest In consultingandpreservinghistorical materials What has been started here wit nix end %% I ththis project. The Immediate results will tow the entire legion and be availablefor any who wish the program. almond exhibit There will be more discussionofand action onthe Issues involving the humanities and public policies.peas and present. The Mountain Plains Library AssociatkA is proud to he apartner in this work. the Country School Legacy and its contribution to understanding humanities on the frontier

Joseph 1 AndersonNevada State LibrarianPast PresidentMountain plains Library Association

BEST COPY AVAILABLE

1

MUSIC, EDUCATION, .AND COMMUNITY IN NINETEENTH-CENTURY KANSAS

EUTRERPE, TONNIES, AND THE ACADEMY ON THE PLAINS

The nature of music, education, and community and the interactions

among these three factors in Kansas during the nineteenth century offer

an opportunity to study the role and function of music education in a

sociocultural context. Following the work of the sociologist Ferdinand

Tannies (1855-1936), community (gemeinschaft) is defined as a small

group of people who share location, values, strong kinship ties, and

strong feelings of unity. Community is also characterized by close

interpersonal relationships, informal control of social deviance, and

family-centered social life. This concept of community is in contrast

with the term association (gesellschaft) which implies a large popula-

tion of strangers, impersonal and temporary relationships, social

control by formal (usually legal) means, and the like.

While music and education also have roles and functions in

gesellschaft, this study is primarily concerned with music and education

as they relate to gemeinschaft or community. A major aspect of this

concern has to do with the manner in which music and the early schools

contributed to Americanization on the frontier -- to "melting pot"

enculturation by which gemeinschaft was enhanced.

Kansas communities during the nineteenth century provide a diverse

collection of ethnic, religious, and economic groups for a study of this

2

sort. Early in the century, the State was populated by tribal struc-

tures of indigenous and immigrant Indians. From 1824 to the Civil War,

several different Christian denominations attempted to evangelize the

Native Americans through missions and mission schools. After 1854, many

groups from the eastern United States and from foreign countries settled

in relatively small communities throughout the State. This settlement

process was greatly accelerated after 1870 with the development of an

extensive rail transportation system. One of the by-products of this

accelerated settlement was the rise of associations or gesellschaft-type

groups and the beginnings of conflict with gemeinschaft-type groups.

Music, education, and community of the sort that are being inves-

tigated here are difficult to study because they tend to escape pre-

servation in documentary form. The instances which are available mays

well be exception because they left such evidence. It cannot

therefore be assumed that this paper presents a representative sample of

music, education, and nineteenth-century Kansas communities, but rather

that these examples are illustrative of certain patterns of relation-

ships between the three elements which are the subject of the study.

Such is the nature of historical research; no history can be written

without evidence, and 1rocesses beyond the historians' control naturally

limit the evidence available.

Schools as Educational and Community Centers

Mission Schools

As early as 1824, Indian mission schools were established in the

Kansas territory. The first was the Presbyterian mission to the Osage

in Neosho County. The Catholic mission to the Osage in the same county

was the last to close in 1895. During that seventy-year period, sixteen

3

missions offered schooling in the territory and state. The first Osage

mission endured for only five years, while the final one lasted for

forty -eight years. The median duration of the sixteen missions was

twelve years, and the average size was twenty-five students.'

When compared with the missions in the southwestern United States

and in Latin America which preceded them by a century or more, the mis-

sions of Kansas made feeble efforts at music education with few results.

Like Fray Pedro de Gante in Mexico City and other Franciscans in the

southwestern United States, the missionaries tried to use music as an

adjunct to academic instruction, religious indoctrination, and

acculturation. They produced a few music books--mostly hymnals in

Indian languages. They taught "round notes" and probably used a rote-

note technique for most teaching.2

Most=of the mission schools closed within a dozen years of opeqng,

and none had very many students for a very long time. The missions were

not well supported by parent institutions and churches in the eastern

United States or in Europe where the social and cultural values they

were trying to teach originated. The few successes achieved were over-

whelmed by territorial expansion pressures after 1855 and by events cf

the Civil War. After 1855, white immigrants flooded into Kansas, pushed

most of the Indians off their land, eliminated the missions, and closed

the schools. The two schools which survived--the Iowa Presbyterian

Mission in Highland and the Pottawatomi Catholic Mission in Linn

County--did so by opening their doors to white students and by becoming

institutions of higher education.3

4

Subscription Schools

The first white settlers to form communities in Kansas were con-

cerned most immediately with establishing a corn crop, a dwelling place,

a church,L,a9A, a school. Often the same facility served as a church,

school, and a community center. Before statehood and legislation

brought some degree of organization and continuity to the educational

process, "subscription" schools were most common.4 These were organized

by a teacher in the immediate community, who was supported by the

subscription of $1.00 to $1.50 per month per child by the parents of the

pupils.5

There were usually three terms of three months each, with two weeks

of vacation between terms. However, teachers were hired by the term so

that a child might have as many as three per year.6 Texts were brought

to school from home, being whatever had survived the emigration process,

thus the curriculum was diversified indeed. The first subscription

school in Lawrence (1855) was held in the back office of Dr. Charles

Robinson. Dr. Robinson had been a member of The New England Emigrant

Aid Society, a leader in the antislavery movement, and was to become the

first governor of the state of Kansas. The teacher in this first school

was E. P. Fitch, who also served in the "Old Band." It is not known

whether Fitch taught usic in the subscription school, but it certainly

is a possibility give, his dedication to music in community activities

outside the schoo1.7

The Coming of Statehood and Public Schools

When the first territorial legislature met at Pawnee in 1855, it

adopted guidelines for the establishment of schools and school districts

within each county. The guidelines were based on the Missouri school

5

laws of the time and were adopted as statues by the pro-slavery legis-

lature. Section 1, Article 1, Chapter 144 reads "there shall be estab-

lished a common school, or schools, in each of the counties of this

territory, which shall be open and free for every class of white cit-

izens between th' ages of five and twenty-one years." When anti-

slavery forces gained control of the legislature in 1858, the earlier,

Missouri based statutes were replaced with ones modeled after northern

rather than southern systems. Hence they read not just "white citi-

zens", but "white or colored citizens."9

While subscription schools were often housed in parts of resi-

dences, shops or outbuildings, the public schools usually had their own

buildings, often put up by loca4 patrons of the schools. The school

houses were constructed of sod or logs in some early instances, but more

often of native limestone or milled lumber. Those built in the last

third of the nineteenth century average twenty feet by forty feet in

size, with three or four windows on each long side. They were modestly

equipped with benches, desks and a blackboard along the short back wall.

The teacher's table or desk rested on the platform in front of the

board. The round black stove resided in the middle of the room, and in

the more affluent districts--particularly those where the school

doubled as church--a pump organ might be found. The schoolhouse had

either one or two doors, depending on the degree of sex segregation

desired by the community. Finally, the little red schoolhouse was

relatively unknown in Kansas; those that were painted were almost always

white. Generally plans, specifications, and other building information

were available from the State D'partment of Public Instruction. Each

new county was divided into school districts so that no school would be

6

over three miles from another. In many counties a hundred white frame

or native limestone school houses would occupy corners where section

roads crossed.

From 1870 to 1100 the population of Kansas nearly quadrupled. The

average daily attendance in public schools in 1900 was 664 percent of

the 1870 figure. The number of school districts roselrom 2,068 in 1870

to 8,927 in 1900, and the number of teachers went from 2,240 to 11,513

in that same period. In almost every category in which statistics were

kept, 1900 figures are from four to six times their 1870 counterparts."

Probably the major reasons for these dramatic increases were re-

lated to the effect of the railroads upon settlement of the State. From

1870 to 1890, fifty-eight new counties were established as immigrants

from the eastern United States and western and central Europe arrived in

large numbers. After 1890, most of the land was occupied, and all the

present counties were organized. In many ways the period from 1870 to

1890 resembles the period from 1950 to 1970, and the 1890's in Kansas

lookvery similar to what the 1980's might hold for the Nation as a

whole. (Se Figures 1 and 2.)

The names of the new schools and districts were frontier poetry.

Some were inspired by the animals: Dog Hollar, Buzzard Roost, Crow

Hill, Possum Hollow, Wildcat, Poor Puss, and Snake Den; some were in-

spired by faith: Mt. Carmel, Mt. Hope, Church, Dunkard, St. John, and

Good Intent; some were inspired by the land and vegetation: Rose Valley,

Frog Pond, Flint Rock, Dry Creek, Elm Slough, and Cottonwood; some were

in honor of people--mostly local people: Cora, Jenkins, Clime, Fegnier,

Clark, King and Pardee; and finally there were all the "Pleasants" and

other assorted rarities: Pleasant Hill, Pleasant Valley, Pleasant Ridge,

Pleasant View, College Hill, Bonaccord, Barefoot Nation, and Chicago.

7

The Public School Teachers

Teachers had to be as adept at handling log and coal stoves as at

handling children and curricula. The 1855 legislature provided guide-

lines for district boards in the hiring of teachers. Candidates had to

prove their good moral character, their ability to teach over a dozen

subjects at the various grade levels, and their ability to manage a

school and maintain appropriate discipline.12

Certification examinations became the standard method of demon-

strating teaching ability, though they were loosely administered during

the early days of statehood. By 1876, three levels of certificates were

available 40 good for periods of one to three years. While an eighth

grade education often qualified one to teach in the first decades of

statehood, the tradition of continuing education for teachers was

present from almost the outset as well. Institutes lasti.ig from a

couple of days to a week were held in all of the larger communities, and

these carried over into the twentieth century.

During the latter half of the 19th Ctury the public school teach-

er was often a young, unmarried lady of local origin. If she survived

the work of teaching and disciplining her four to forty pupils (a few of

whom might be older than she and in attendance only when unable to work

the fields), she quickly became a respected and influential member of

the community. More often she married within the first year and left

The Curriculum and the Melting Pot

In 1861, school law required the teaching of orthography, reading,

writing, English grammar, geography, arithmetic if desired, and any

8

other local district options." Within several decades most curricula

also included American and Kansas history, Literature, various kinds of

mathematics, agriculture, physiology and hygiene "with special reference

to the effects of alcoholic stimulants and narcotics."14 (See Figure 3)

The curricula and curricular materials emphasized Americanization,

though most of the settlers of Kansas were already "Americans" by the

time they arrived. Kansas, being located in mid-continent, did not

=receive many waves of fresh immigrants. Most came from the New England

and upper midwestern states. Still, some groups of Czechs, French,

Germans, German-speaking Russians, Swedes and Mexicans did arrive di-

rectly from foreign soil. Most of these people cooperated readily and

willingly with the Americanization process, though tw other groups, the

native Indians and the German Mennonites tended to resist.ls

The Mennonites establisfed many of their own German church schools

to maintain their own traditions and avoid total absorption into Amer-

ica. communities. Attempts at Americanization of the Indians were

initiated at the aforementioned mission schools. According to Teddy

Roosevelt, Americanization was to perform a very useful function by

weakening the tribal sentiment, increasing the tendency to speak En-

glish, and both stimulating and rewarding the laudable ambition of the

best Indians." However, the lack of understanding and willingness to

compromise in the face of the vast cultural differences which separated

Indian and white made the Americanization-assimilation efforts of the

schools and communities futile in many instances. By the 1870s, most

Kansas Indian tribes had been moved to Oklahoma, and most mission

schools were closed or closing.

Meanwhile, back at the public schoolhouse, the melting-pot theory

was being carried on in fact, and with a high degree of success. The

seed to unify a diverse population in face of the harsh realities and

dangers of a frontier life was virtually self-evident. Community soli-

darity for survival took priority then, even as current priorities

reflect the valuing of individual and cultural diversity. Nowhere were

the nineteenth century frontier community values better exemplified than

in the McGuff_y readers and in the songbooks which were employed in the

schools (see appendix instroduction and materials).

Schools as Community Centers

Frontier schools were by their very nature and circumstances of

existance at the core of community life. The immediate community was

responsible for the planning and erection of the schoolhouse and subse-

quently for its maintenance. The men of the community kept up the

exterior while the women maintained the interior. Aside from such

personal investment, the few larger community centers--that is the few Ns

towns in each county--were generally too distant and inaccessible for

the majority pf the population most of the time. Thus everything from

national holidays to the most trivial local events were celebrated at

schoolhouse and/or in the school yard. Community meetings of all

types took place there. At times marriages and funerals took place

there. Some schools were the locus for regular church services; and

'virtually all schools served as voting sites--though never during church

services, thus preserving due separation of church and state (for the

times at least).

School-church-community Thanksgiving, Christmas and Easter programs

were commonplace on the schoolgrounds. The last-day-of-school dinner

10

was a true community event, as were other f_od-laden occassions such as

box socials and cake walks. These often doubled as fund raising events

and provided the means for school repairs, additions, new interior

furnishings, or playground equipment. Adults and children from a di.-

trict often had ball teams, and played teams from neighboring districts.

Sewing bees and literary clubs also used the schools regularly.

Dances, concerts, plays, traveling lyceum circuit programs, and

political meetings were all on the school calendar too. Even the

scholastic sounding monthly parent-teacher meetings tended to be more

social than business oriented with community people of all ages showing

up for talk over milk, coffee, cake and pie. Thus the public school was

the essence of gemeinschaft in nineteenth century Kansas.

Music in Education and Community

Music Education in 19th Century Kansas

Music was not a state-mandated part of the curriculum in Kansas

schools prior to the twentieth century; nevertheless, a considerable

amount of music education took place. Formal lessons for the purpose of

developing vocal or instrumental performance skills were generally

provided by private teachers or music "professors" in the community--or

by a family member with some musical experience. While a considerable

amount of singing was carried on in many schools, the learning and use

of songs was generally incidental to other matters and events.

As the population increased so dramatically from 1870 to 1900,

teachers in general--and music teachers in particular--began to organize

their efforts. As the organization of teachers and the standardization

of curricula, materials, and oth r aspects of education progressed,

local autonomy tended to give wa ostate-wide conformity. The Kansas

11

Educational Journal, the Kansas State Teachers' Association, and the

State Superintendant 'f. Public Instruction were three forces which tend-

ed to promote a ge"ellIchaft in place of the previously established

gemeinschaft in education and in music.

The Kansas Educational Journal brought news, announcements, adver-

tisements, and opinion to teachers all across the state from 1863

through 1900. Columns about the proper aims, methods, and materials of

education were written by Kansas teachers and others from beyond the

state's borders. An example of the type of writing that appeared was

Alice L. Norton's 1870 article on the problems of teaching music in the

public schools. In a tone suprisingly similar to contemporary writers

on music education, she attacked the use of music by inadequately train-

ed teachers in conjunction with other subjects:

In our anxiety to derive the utmost benefit from this deli-cious fountain of knowledge, some of us have dashed recklesslyinto the singing mania, in a style that has horrified allsubsequent masters of our precious pupils.... We have shoutedout the capitals of the several several states in an ear-splitting chorus that perhaps injured some of the sweetest andmost delicate voices, we have chanted the rivers and lakesthrough our noses, and proved our patriotism by twisting themultiplication tables into the tune of Yankee Doodle....17

Similar assertions by both Kansas teachers and nationally recognized

educators tended to influence the course of education toward state-wide,

and even nation-wide norms.

The Kansas State Teachers' Association met annually in convention

for the purposes of sharing ideas about teaching and organizing advocacy

for education in the state. It was typical for teachers to read papers

on topics of common interest, to give demonstrations of innovative

techniques or materials, and to endorse resolutions advocating various

courses of action.

0-12

The first resolution to deal directly with music education in the

Association was made in 1870. It urged superintehdents and school

boards to support instruction in music and art in all Kansas schools.18

Similar resolutions were proposed in 1873, 1886, and-1897. Most of

these statements were supported, with the exception of the 1886 resolu-

tion which recommended a statutory requirement td teach vocal music in

the public schools." While teachers generally supported music educao

tion, they lid not want curriculum mandated by the State Legislature.

The State Superintendent of Public Instruction was a third centra-

lizing force in education which tended to emphasize gesellschaft overN.4

gemeinschaft. Th./ publication of courses of study, the sponsoring of

teacher training institutes, and the certification of teachers were

three principal ways of asserting common ideals across the state.

As early as 1871, the Superintendent published a course of study

which was organized according to students' reading abilities. In that

document, students who were in the first reader were supposed to have

vocal music instruction "three or four times a day, and from three to

five minutes each time."20 In 1896, a much more detailed course of

study for music listed goals and objectives at each level through the

eighth grade.21

Thus, while music was not regarded as a "basic" in the sense of

"readin', writin' and rhythm," it soon was recognized as a basic in a

more direct, functional sense. It was employed as a socializer to

engender a community spirit of oneness and belonging in the students

(and during the weekend or evening activities, it did the same for their

elders as well). It was employed as a means of enculturation to the

"American way of life" for the ethnically diverse populations found on

13

the frontier. It was used as an entertainment, as an enjoyable change

of pace from other kinds of school activities. Often it was used as a

symbol of validation--to officially open the school day, a meeting or a

ceremony with a song. And at other times it was simply used to accom-

\.patty a march around the classroom, which during cold weather was done

not so much for rhythmic activity as in an effort to keep the students'

feet from freezing. Thus music, probably less for aesthetic purposes

and more for functional reasons, found its way into frontier country

schools from the earliest of times.

Teachers tended to play, sing, and/or teach music according to

their individual abilities. As early as the 1860's teachers' institutes

encouraged special attention "to the science of music."22 Singing as a

part of daily opening exercises was so common as to be virtually a

standard part of the curriculum. However, beyond that point, the quan-

tity and quality of music activity in the schools ,varied a great

deal--mostly with the abilities of the teacher.

Prior to the second or third decade of the twentieth century, very

few teacher preparation programs gave much if any attention to music

education. If the nineteenth century school teacher had not developed

skills or taken lessons on his or her own, he or she simply would pot

have much to offer the ,students in the way of music instruction. At

times, however, such circumstances were alleviated by the contributionsgl4

of musically experienced people in the community. Occasionally even an

older student, possibly someone who had had the opportunity to take some

lessons from a "professor" (private music teacher), would assume re-

sponsibility for some music activities in the school.

"4.

14

While most of the early music instruction centered on vocal and

rhythmic activities, small instrumental groups were assembled and incor-

porated into school programs on occasions when opportunity presented

itself. At times musically experienced teachers also taught private

lessons, or a student learned from dad, using his fiddle, from mom, from

the church organist, or from a "professor" if such a person was avail-

able and affordable. In any event, enterprising teachers would help the

instrumentally experienced young people in the schools band together

into performing groups. These often were called orchestras, even if

they included only one orchestral string instrument or only a guitar or

mandolin. If there were no strings of any kind, only winds and per-

cussion, they were called bands even if membership numbered only three

or four.

Primary accompanying instruments for music activities in the early

Kansas schools were organs and pianos. From what can be gathered con-

cerning relative use, it appears that organs competed effectively with

pianos and might actually have been more common in the nineteenth ten-

tury (pianos having only been devised in the late eighteenth century).

One interviewee related a story about how a giant box social provided

the entire financing for the purchase of an organ for th.c. school.

However, with the coming of the twentieth century the larger and heavy,

metal framed piano had found its way across the American Frontier, and

by the end of the first quarter of the century most of the country

schools had such an instrument.

Another technological development which influenced music education

in the closing years of the nineteenth century was the grammophone-

record player. Many interviewees report the use of Sousa marches which

15

were early "hit-parade" favorites around the turn of the century. As

mentioned earlier, these were used on cold days when teachers had chil-

dren march around the room to warm themselves; but also when children

were restless during stormy weather and needed physical activity; to

teach "beats" and rhythms, and just for fun listening. Soon, in addi-

tion to marches and other popular forms, classical music recordings

became available. The "classics" provided the basis for music appretia-

tion classes in the early 20th Century.

Of the various types of music literature mentioned in the foregoing

sections, the most common is song literature. The Lamar, ColoradelArbor

Day Program of April 16, 1892 included the following: "Marching Through

Georgia," "Columbia, Gem of the Ocean," "Rally Round the Flag," and

"Yankee Boy." It is logical to assume that the same music was popular

in Kansas at the time. It was mentioned in various interviews that in

many schools it was not unusual to spend at least fifteen minutes a day

singing from song books. Children memorized patriotic songs, rounds,

folk and country tunes, as well as nasense songs and popular ballads.

Immigrant children sang the same music as native children in the

schools.

Even children of parents who generally spoke a language other than

English learned the English songs, and no reports indicv..ed tLat pupils

learned songs in other languages. This would probably have been regard-

ed as contrary to the principles of the great "melting pc::." This does

not mean that songs of ethnic heritage were not learned and transmitted.

It is just that they generally were not employed as a part of school

activities (except possibly in a most solidly ethnic community). Such

music was generally learned in the home, or at dances and other social

functions.

16

The music scores and song books used in the Mountain-Plains region

employed round notes from the very first, rather than shape notes. This

is of significance because shape notes were largely a southern tradi-

tion, whereas round notes were espoused by Lowell Mason of Boston music

tducation fame. The general influence of shape notes went no further

north or west than Missouri, a slave state at the time. It did not

penetrate Kansas, in part due to the Boston influence of the New England

Immigrant Aid Society which sent settlers and helped bring the territory

into the Union as a free state.

Several specific song titles mentioned by interviewees include:

"What a Friend We Have in Jesus" (and many other religious hymn-tunes,

particularly in the early days); "America;" "Home Sweet Home;" "Stars

and Stripes Forever" (words were sung to the trio); "Red River Valley;"

"Pop Goes the Weasel;" "Row, Row, Row Your Boat;" "Blest be the Tie That

Binds;" Battle Hymn of the Republic;" and "America the Belutiful."

Such songs functioned in many ways, but several of the most signif-

icant functions in the Kansas frontier school setting were the Amer-

icanization (enculturation) of ethnic groups, the engendering of the

American spirit, the uniting of a multi-cultural nation and the enhance-

ment of patriotism. Other common topics and functions were the trans-

mission of religious-spiritual-moral attitudes and beliefs, the trans-

mission of personal values, the fostering of interpersonal relation-

ships, and the expression of feelings for the beauties of the land and

the wonders of nature.

The appendix offers a verbal-musical-functional analysis of a sam-

pling of lesser known songs selected from music books and pieces of

17

sheet music which were published during the latter half of the nine-

teenth century and at the turn of the twentieth. There is good reason

to believe that the texts from which examples were selected were

actually used in the schools of Kansas because most of the aforemention-

ed songs are in them, and the texts were found in the area. They cur-

rently reside in the Kansas Music Educators Association Historical

Center, University of Kansas, Lawrence.

Music in the Community

Schools and churches were the foremost community centers in nine-

teenth-century Kansas, and many of the activities carried on as a part

of this function involved, if not featured, music. Church or school

community centers provided the settings for meetings (which were often

introduced or interspersed with music); picnics (with sing-alongs and

other musical entertainments); box socials and cakewalks (wherein a

musical game determined who got what food--and partner); patriotic

celebrations (often involving appropriately patriotic songs, and combin-

ing several of the aforementioned activities); worship and revival

services, plays, dramas (all of which could involve appropriate music);

dances (whereiq folk and ethnic musical styles often dominated); and a

variety of other activities, not the least of which were musical

concerts themselves. This last category, like some of the aforemen-

tioned, might involve noted artists such as Jenny Lind traveling the

concert circuit under the auspices of P.T. Barnum, or more commonly,

local talent. Many of these activities involved large segments, and

often all of the community.

18

Community Music Activities

Community music activities which abounded in Kansas from 1870 to

1900 generally fall into two categories: vocal and instrumental. In

the vocal area, the State witnessed continued development of the singing

school tradition with evolution toward the singing convention. In the

instrumental field, the town band was the phenomenon of the era.

Specific instances of singing schools have been found in Junction

City in 187023, in Boston, Elk County in 187324, and in Fairview, Brown

County in 187525. These were all local operations run by residents who

happened to have some background and training in the singing school

tradition. In the 1880's, the railroads brought in singing teachers

from outside the State, and the railroads made it possible for them to

tour the State holding sessions in many different locations.

The two leading figures of the singing movement were Henry S.

Perkins and C. E. Leslie, both of Chicago. Perkins first worked the

State in 1880, when he held a convention in Fort Scott, October 26 -2926.

His procedure involved gathering large numbers of people with advance

public,,:y, teaching from a music book which he usually sold on commis-

sion from the pblishers, and culminating in a large festival perform-

ance for which he often imported soloists and accompanists to support

the local participants. In addition to Fort Scott, Perkins made whistle

stops in Seneca (1880), Mond City (1880), Council Grove (1880),

Sterling (1883), Great Bend (1883), and Mineral Springs Park (1883).27

Perhaps the most amazing musical convention in Kansas history

occurred in Bismark Grove, ea the railroad in the northern part of

Lawr ce in 1880. The event was called the Kansas State Musical Jubilee

and was the production of C. E. Leslie. Leslie, with his wife and

19

twenty-eight assistants, covered the northeast quarter of the State

giving mini-conventions from May 1 to August 15, 1880. Ten thousand

singers in seventy-three towns participated in the preliminary exer-

cises. On August 18, 1,800, sopranos, 1,600 altos, 1,200 tenors, and

1,400 basses assembled at Bismark Grove to rehearse under Leslie's

direction. Seven soloists were brought in from out of the state to do

the solo parts, and the railroads put on special trains to accommodate

the participants and spectators. On August 19, 1880, the concert was

held before an audience estimated by local officials at over 30,000.28

Leslie and Perkins apparently represented the peak of acnievement

in the musical convention movement. In the 1890's, few such endeavors

were undertaken, and vocal music instruction and community activities

moved into proprietary schools such as the Institute of Arts and

Languages in Topeka." The schools--elementary, secondary, and higher

education--also assumed a much greater role in teaching vocal music and

organizing community participation :n later years.

After singing schools and musical conventions, the most important

community music activity which would later heavily influence the course

of music in the public schools was the town band. During this period

the bands were rather small, seldom numbering more than two dozen play-

ers; and the instrumentation varied widely. Two types of bands flour-

ished: the outdoor band--mostly brass and percussion, and the indoor

band--a mixed group of wind, percussion, and even string players that1'

sometimes also included a pianist or organist. The outdoor groups

played in town and city parks and rode on band wagons or marched in

local parades and were modelled on European military bands, while the

indoor groups were western versions of the music hall orchestras popular

in the eastern United States following the Civil War.

0'),0%.)

20

The U. S. Army Bands stationed in Kansas provided music for the

communities surrounding Fort Leavenworth (where the band was first

organized in 1827), Fort Scott (1842), and Fort Hays (1867). Civilian

bands were active before the Civil War in Lawrence (1854) and Topeka

(1859). The turmoil of the war caused a hiatus during the 1860's, but

things started up again is the 1870's when twenty-six communities in the

lit

State formed b ads. Louisville and Wichita bands started in 1870,

Burlingame in 1 , Marysville and Wamego in 1873, Leonardville and

White Cloud in 1875, Desoto and Pleasanton in 1876, Clay Center, Howard,

Newton, Russell and Wakeeny in 1878, and the deluge began for real in

1879, when Ellsworth, Eureka, Frankfort, Kingman, Manhattan, Morrill,

Oskaloosa, Oxford, sterling, Virgil, and West Mineral started town

bands."

The Community band movement peaked after the 1880's. In those

years, ninety-eight communities in Kansas acquired town bands, five in

1880, four in 1881, five in 1882, eight in 1883, twenty-five in 1884,

four in 1885, thirty-eight in 1886, seven in 1887, two in 1888, and none

in 1889. Only one band, Hutchinson in 1894, was initiated in the

1890'3.31

The singing schools, musical conventions, and town bands gave

Kansas her first generation of musicians of national stature. Merle

Evans of Columbus, Joseph Maddy of Wellington, and Thurlow Lieurance of

Chanute were but a few of the heirs to these traditions. Daniel E.

Kelley of Gaylord and Dr. Brewster Higley of Smith Center, who wrote

"Home on the Range" in 1873, were similarly trained. Subsequent

developments in music education in Kansas owed much to these community

music activities.

21

Music, Education, and Change

In the last three decades of the nineteenth century, the balance of

semeinschaft and gesellschaftmahifted from the former to the latter,

especially in the areas of music and education. In a complex and di-

verse situtation such as is studied here, it is difficult to measure

communal and societal trends and to say when a balance is achieved.

Even in modern times a dynamic struggle goes on between close-knit,

informal, family-like patterns and the wore impersonal, formalized, and

contractual type groups. At the same time, however, trends can be

discerned which demonstrate movement away from localized and diverse

value systems and sociocultural behaviors and the rise of centralized

organizations which, if they do not exert rigid control, at least exert

a measure of influence transcending community boundaries.

Whether the educational system was a cause or a barometer of these

changing trends is certainly debatable. It is equally arguable whether

music was a tool or a by-product in the change process. What is clear,

however, is the extent to which music was involved in the education and

enculturation processes. Music and education changed as community and

society changed. For those in music and/or education who view their art

and/or profession liberally, the changes are positive indicators of

dynamic and organic growth, i.e. "progress". For those who see them-

selves as conservators of the cultural tritions, such fundamental and

pervasive changes may be viewed negatively as destructive forces. In

either case, the changes did in fact occur, and there is very little

evidence to suggest that such changes can be successfully eluded.

1

22

Footnotes

. Heller, George N., "Music Education in Kansas Before the CivilWar." Paper Presented at the Southwest Division of the MusicEducators National Conference, Colorado Springs, Colorado, February

2, 1979.

Ibid.

3 Ibid.

4. Judge, Sara,(Eastern and

S. Dick, E. N.1937, p. 317.

"Country School Legacy: Humanities on the Frontier"Central Kansas Report) Mss., 1981 (Ch. i, p. 1)

Sod House Frontier, New York: D. Appleton-Century Co.,

s. Ibid., p. 317.

7

a

9

10.

11

12.

CIrdley, Richard, A History of Lawrence, Kansas From the FirstSettlement to the Close of the Resellion, Lawrence, Kansas:Lawrence Journal Press, 1895, p. 23.

Statutes of the Territory of Kansas...(N.p., Shawnee Manual LaborSchool, 1855), p. 699.

King, Clyde L., "The Kansas School System--Its History and Ten-dencies," Collections of the Kansas State Historical Society"

(1909-1910): 424.

Twenty7Second Biennial Report of the State Superintendent ofPublic Instruction (Topeka, Kansas, 1920), pp. 382-384.

Judge, Sara, Ch. III, p. 2.

Statutes of the Territory of Kansas. . p. 699.

13. General Laws of the State of Kansas. . ., Lawrence, Kansas: Kansas

State Journal Press Print, 1861, p. 266.

14

ls.

16.

Sersion Laws of 1855. . .Topeka, Kansas: Kansas Publishing House,1885, p. 273.

Judge, Sara, Ch. IV, p. 2.

Roosevelt, Theodore, Report. . . Upon a Visit to Certain IndianReservations and Indian Schools in South Dakota, Nebraska, and

Kansas, Philadelphia: The Indian Rights Association, 1893, p. 23.

17. Norton, Alice L. "Music in the Public School," Kansas EducationalJournal 6 (February 1870): 230-231.

23

18. KSTA Minutes, June 24, 1870.

19. KSTA Minutes, December 29, 1886.

20. Eleventh Annual Repo'rt 24 the Superintendent of Public Instruction(Topeka, Kansas, 1871), gp. 778.

//21. Course of Study for the Public Schools of the State of Kansas

(Topeka, Kansas: The State Printer, 18196), pp. 49-51.

22. Kansas Educational Journal 6 (October 1869): 138.

23. Collections of the Kansas State Historical Society 15 (1919-1922):512-513.

24. Collections of the Kansas Ftate Historical Society 16 (1923-1925):486.

28. Isely, Bliss and Richards, W. M. The Story of Kansas (Topeka,Kansas: The State of Kansas, 1953), p. 181.

28. Musical Herald 1 (May 1880): 118.

27. Musical Herald 1 (July 1880): 167; Musical Herald 1 (November1880): 261; Musical Herald 4 (April 1883): 113; and Musical Herald4 (October 1883): 280. Perkins probably used his own Graded MusicReader (Boston: Oliver Ditson Co., 1877).

28. Lewis, Jim J. "Beautiful Bismark' Bismark Grove, Lawrence,1875-1900," Karisas Historical Quarterly 35 (Fall 1969): 246-248.

29. Kansas State Department of Public Instruction, Report of the Super-intendent (Topeka, 1894), p. 166.

313. Oursler, Robert D. "A History of Public School Music in Kansas"(Masters thesis, Northwestern University, 1954), pp. 29-35.

91. Ibid.

32. Mechem, Kirche. "Home on the Range," Kansas Historical Quarterly17 (November 151,4): 313-325.

Relevant Interviews and Written Communications

Berg, Emmar, R.R. 1, Lawrence, Kansas, October 1980 and February 1981.Birkinshaw, S.ott, Ogden, 14:0, October 1980.Carrtar, Edna, Winfield, Kansas, February 1981.Dodde, Joanne, Pueblo, Colorado, October 1980.Gulliford, Andrew, Silt, Colorado, December 1980.Mansfield, Philip, Lawrence, Kansas, January 1981.Peters, Velma, Lawrence, Kansas, February 1981.Preuit, Ruby, Wheatland, Wyoming, November 1980.

4r

Lawl.

24

Figure 1 Kansas Educational Demographics, 1870 to 1900

1

I2

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014.000

i1. 130.224

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WM J73 an un an un woe un an uuI

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aezII!IWO Ian Jr 11143 J011 1101 WWI 1423 :JO 1414 18114 1801 :NO

Source: Twenty-second Biennial Report of the State Superintendent ofPublic Instruction (Topeka, Kansas, 1920): 382-384.

Figure 2 Settlement of Kansas Counties, 1854 to 1890

cat, as eaultialTaal la :au

Ciri=11:1Mal a Lai

Coalaal GlataaaSal a IVO

caaartszs maul=PUOI a tan

con= NMI=tan To ties

alearal aim=nue mats

Canna allMaallIan a IMO

25

Source: Homer Socoldfsky and Huber Self, F'storical Atlas of Kansas(Norman, Oklahoma: University of Okahoma Press, 1972), pp.38-41.

26

Figure 3 Suggested Time Schedule for Kansas Grade Schools, 1896

Outline of Work for COMMON School*. 51

STUDIES.

Pier I Spewed Third, ear. 7041% YCI11`.

Pettus h%MU%

Fifth sixth -.I

"%elith gi hthtour. vat*. } e.if. I )t..11..

I

M.:nil IN. Rending. Reading. Rending. Reading. (.1.1.+IC. .1. mit lialtmi IIIR..1111na. volitive..

Phonics. Monica. Phonic'. Ninnies.

Nrillue. f Stiellitut. Spelling. 1 Spelling. (test). Spelling. ?:..t.lx";:r ((...4,111ruci."e*

Caitlin.Stadler.

Culture*taller.

Calturo*Mites.

CultureStadler.

CultureStudies.

Culturestudies.

Culture i Culturestiulley. i, St mik,.

I

Language. Lang. Lang. Gaut. ';',18:t. Lling. Grammar. 1 Grammar.....-N:IiIIINI XAtIlf,

Study. Study.Nature

Study.Nature

stuilr.Narita

Study.Nature

Study.Nature

Stwiy.Nattier

Stork.

Plant suit Animal 1.14. Galittreglff (oral lend.

Pityries tilaittleesperintentrl. I tudurtr(es.

.-- _ _

31tenniltaty and Arcronomy (uberrentioutt). Ilttanr ft.Ipwreat tour)....................

Chemistry (regerinients). Phys(c: .experimetit").

Phyrielegy (oral mato --1Coo w. Mil),4oshmirr.- -.... ---.

(knit. I ("; ... w .thole>.-.N II ntree

Wuelt.

- -Nutmeg?work. Numwork. Arida

- --Acids. % nth. lrith. int ho w. te.

=111111...,Dady wiring segrgt.w. through reeeath Stir.

Drawing and music (alternating daily). all clarrer.

ti). Drill in phonics and spelling for first four years should accompany read-ing exercises.

(2). Class exercises In orthography should follow some text on formation.derivation and use of words.

(3). When text has been introduced In any subject it Is to be followed there-after until It is completed.

(4). -Culture Studies" should be related to rending as closely as possible. armax soon as pupils are able to rend Intelligently, should furnish the supple-mentary reading.

Oh "Culture Studies" and "Nature Studies" with ebservations and expert-meets are tutended to bo the basis for daily language work. Oral andwritten work abundant In quantity and varied in character wilt grow

Source: Course of Study for the Public Schools of the State of Kansas(Topeka, Kansas: The State Printer, 1896), p. 51.

BEST COPY AVAILABLE

27

Appendix

This appendix provides a sampling and functional analysis of some

lesser-known songs which were used in Kansas schools and communities

during the Nineteenth Century. The verbal-musical analyses deal with

how these songs functioned in the enhancement of community and community

living during the period under study.

It may be interesting to note that in the writers' recent analysis

of the song text material found in Graded Singers: Book One, (for

primary grades by O. Blackman and E. E. Wittemore, Cincinnati, Ohio:

The John Church Co., 1873) six "key word factors" were identified in the

textual content. Most of the 55 songs were r_lated to more than one of

the key word factors, and the data may be summarized as follows: "Joy,"

12 songs; "Kindness and Love," 16 songs; "Nature," 32 songs; "Religion,"

19 songs; "School and Education," 14 songs; "Work and Diligence," 10

songs. It seems safe to say that these songs were consistently devised

for didactic purposes beyond music education, that is, for circulating

and enculturating students with dominant attitudes, ethics, morals and

values of the times. In fact, it may be fair to state that song

materials such a those analyzed here are the musical first cousins, if

not the direct equivalents, of the famed McGuffey readers.

28

"Song of the Kansas Emigrants"

Words: John Greenleaf Whittier (1854); Music: Traditional, "Auld Lang

Syne" Adams, F.G., Ed,, Transactions of the Kansas State HistoricalSociety. 5(1889-1896):30-35.

Text

In the 1850's, Amos Lawrence, eventual co-founder, with Eli Thayer,of the New England Emmigrant Aid Society, sponsored a contest to encour-age poets to write lyrics which could easily be sung to a well-known

folk song. The contest rules stipulated that the poem be a statement onthe struggle against slavery and that it offer encouragement to NewEnglanders to migrate with their families to the new territories in theWest. John Greenleaf Whittier won the prize with his "Song of theKansas Emigrants," which could be sung to the tune of "Auld Lang Syne."

Whittier (1807-1892) was an American farm boy turned poet under the

inspiration of Robert Burns. His anti - slavery verses were heard a

growing audience for decades until his "Song of the Kansas Emigrants"and several others were known froi Massachusetts Bay to the MissouriRiver. The text is very clear in as abolitionist sentiments, relatingthat just as forefathers left Europe for freedom in the New World, sons

must extend that freedom westward in America. Northern sentiments are

strong and set in vivid imagery:

"And plant beside the cotton-treeThe rugged northern pine."

Of particular interest for this study is the fact that Whittier's textemphasizes the importance of the "common schools" to the cause of free-dom. He also stresses the use of the bible "Against the Fraud of Man"(slavery).

Music

Whittier composed his text to fit the beautifully simple, straight-forward and rhythmically regular strains of "Auld Lang Syne." It was

(and remains) fairly common practice to set a new text to an old song;particularly to an old, tried and proven popular song. This helps

assure the success of the lyrics in terms of peoples' acceptance and

remeaberance of the message; and it alleviates the need to learn a newmelody, which could be difficult for many and thus diminish the communi-cative function of the enterprise. Aside from the fact that it has asimple, attractive and thus a very useful melody, Whittier may well havebeen influenced in his choice of the Scottish tune "Auld Lang Syne" byhis love for his lifelong idle, the Scottish poet Robert Burns.

29

Functions*

Communication: First and foremost the song functions as an attrac-tive, poetic message concerning anti-slavery and the extensionof freedom in the new world.

Emotional Expression: A restrained romanticism comes throughclearly in the vivid imagery with its strong affective appealfor freedom.

Physical Response: The tune is conducive to use as a marchingsong, and was actually used as such by many on the trek west.

Symbolic Representation: Whittier's text is literally filled withsymbolidm relating to the ongoing course of freedom.

*Enforcing Social Conformity and Continuity: Particularly the fouraforementioned functions point to this function and thosewhich follow. The song stirred people to action, to move westfor the cause of social continuity and conformity with theirnorthern way of life.

Validation of Institutions: The song, by virtue of the above, wasa validation of the northern way of life and northern idealsof freedom,

Contribution to the Integration of Society: Though slavery isnever mentioned per se, the song is permeated with appeals forfreedom and equality. Especially telling is the reference tocommon schools.

*Derived from Alan P. Merriam, The Anthropology of Music. North-western University Press, '964, pp. 222-227.

30

Song of the Kansas Emigrants

We cross the prairie as of oldOur fathers crossed the sea,

To make the West as they the EastThe homestead of the free.

We go to rear a wall of menOn freedom's southern line,

And plant beside the cotton-treeThe rugged northern pine.

We're flowing from our native hillsAs our free rivers flow;

The blessing of-our motherlandIs on us as we go.

We go to plant her common schoolsOn distant prairie swells,

And give the Sabbaths of the wildThe music of her bells!

Upbearing like the ark of oldThe bible in our van,

We go to test the truth of GodAgainst the fraud of man.

No pause nor rest, save where the streamsThat feed the Kansas run,

Save where our pilgrim gonfallonShall float the setting sun.

We'll tread the prairies as of oldOur fathers sailed the sea,

To make the West as they the EastThe homestead of the free.

John Greenleaf Whittier

31

"Words of Welcome"Words: Mrs. H.F. Osborne; Music, Unknown

Blackman, 0., and Whittemore, E.E., Graded Singers: Book One.* Cincin-nati: The John Church Co., 1873, p. 65.

TextThe text is an expression of a group of children's welcome to

family and friends on the occasion of a school program. A number ofvalues and attitudes are conveyed, e.g., "Kind friends and dear par-ents;" "good lessons;" "make us submissive and gentle, and kind;" "forlearning, we know, is more precious than gold;" "and thus lay up trea-sures in mansions above;" etc. The song also begs the audiences' indul-gence: "Remember we are all quite young; You'll pardon our blunders."The meter is extremely steady and the rhyming scheme is a simpleAABBCCDD for each of the two verses.

Music

The melodic line is simple and clear, so as to enhance but notobscure the simple but important communication of the words. The pieceis in three-quarter time witit each phrase beginning on the third countof a measure. Virtually everything moves at a steady quarter note paceexcept that every phrase ending is a half note. The melodic structuremight be termed A,B,A,C,B (var.), B (var.), A (var.), D, but Al realunifying element is the continual repetition of 10 quarter notesleillow-ed by a half note. The harmony is not provided in this test, but veryobviously can be accounted for by basic I, IV, V chords--except for thecadence halfillkay through: In the fourth phrase there is a modulation,involving a secondary dominant, to the dominant. This is the only pointof any musical sophistication in the piece, and lends a nice bit ofvariety. The original key returns immediately at the beginning of thenext phrase via a phrase modulation.

FunctionsEmotional Expression: The song expresses earnest good wishes and

fond good wishes, love and friendship.Entertainment: It is an entertaining way to introduce a school

program and provide basic information.Communication: Introductory remarks and cautions, goals and good

will are all being communicated as noted in the preceding"Text" section.

Physical Response: This is not a major function, but the repeti-tive, basic three-quarter rhythm will most likely cause a bitof toe tapping or rhythmic body movement.

Enforcing Conformity to Social Norms: As cited in the earlier"Text" section, many values and virtues of the society arerecounted (including the values of education), and by beingset to music, they tend to become more memorable and ingrainedas well as more acceptable (according to recent research).

Validation' of Social Institutions (the School); Contribution toContinuity and Stability of Culture; and Contribution to the Inte-gration of Society are important and all operative functions too,by virtue of the above.

*For "Primary Schools and Juvenile Classes."

9 f

32

Wm* IWO WORDS o WELCOME.stw,. H tr. osmise

I 141+450 74P-

u. Kind frientl. and dear parents, we welcs.nie you here. To ow n.ce, vie1,1111

2.. We week your ap.prov-al. with hearty coed will, And we lustn: the got .l

.stshooltrInas, and teachers, to dear ; We wmh but Is. diou you how

lea.sons nor teacher* in -still May snake us .411..inis-mve, and

Aueh we have learned, And how. Is. our lcuout, our henrca Wet: bti tented.

;en -Ile, and kind. At well ask ettlight-eu and .trettgtheu ise mind.

a)Ww hupe rem:other we all are piste rsuntr, And when ue have

F.sr learning, we know, is ntore previous than gultl, The wt*rtil "1 the

1:eti. re cu - eel.

4111,41 ip 'd17

n.i .110g, Y.u'll pardon utr 1.1tuttl.,-. which

heart'. jewels !Wet can he told ; Well strte, then, for irtue. and

ail are -ware, M.tyEon or and love,.%nd thus lay up trea.uret in man-ions a-hove.

ew en extent, It) the l're-itient', chair.

BEST COPY AVAILABLE

33

"Gentle Rain"

J. R. Murray

Blackman, 0., and Whittemore, E.E., Graded Singers: Book Three.*Cincinnati: John Church Co., 1873, p. 71.

Text

Each of the two verses of this brief but cheerful song has sixphrases, with regular accent points in each phrase. The rhyming schemeis a simple ABAACC. Frontier-agrarian values abound as the gentle rainis called upon to "make our meadows bright," bless the fields, and coolthe earth. The spiritual element is acknowledged with rain equated to a"Gift of our dear Father's love."

Music

The stylistic marking for this song is "cheerfully," and the melodygives a "running" feeling with two notes per beat most of the time. Thelighthearted effect is enhanced by several "skipping" figures (dottedeight-sixteenth notes). The melodic form is a simple ABC, or could evenbe construed as ABA-variation. This little tune is treated in a moreinteresting harmonic manner than most simple songs. The first and thirdsections have three part harmony (though the entire song could be donein unison). The second and third lines move together and at times quiteindependently from the melody. The second section has the melody singingtwo measures alone, echoed by the other voices in unison. Musically theharmonic aspect is the most interesting factor, and includes a super-tonic chord as well as secondary dominants. The high points or climaxof the song occurs at the end of the third last measure with a fermata(hold) on the key words "love" and "shower."

FunctionsEmotional Expression: The song engenders happiness and a positive,

thankful attitude.

Entertainment and Aesthetic Enjoyment: The harmonic and rhythmicaspects lend rIfe and musical interest to the song.

Communication: The song clearly expresses an appreciation forrain, high regard for nature in general, and a thankfulattitude toward God.

Contribution to the Continuity of Culture and the Integration ofSociety! The song expresses common values in terms of whatwas important in the rural frontier society--good rain, acheerful, positive attitude toward life and nature, and athankful reliance on God.

*For "Grammar, Intermediate or District Schools."

GENTLE RAIN.

I. Com- ing down in cool - ing shower, Gen - tic2. Come and make our meadows bright, Gen - tie

34

A.4419. and Wm.: Ay f R

rain, Gen - tie rain ;rain. Gen, tle rain ;

Bless - ing bird, and. field, and flower, Bless - ing bird, and field, and flower,Hearts are glad for thee to - night, Hearts arc glad for thee to - night.

(7)

o'n

of -

Gift of our dear Pa ther's love, Come with bless ing from a - hove.Corn - ing down in cool - ing shower, Blessing bird, and field. and flower.

01%

V mIN44. N.abtv4 =NmENK% =Ita --4110 -fr °"'; 11"' Fr 0----r

IP. -r v v -10*-sr -IF

ors

BEST COPY AVAILABLE

35

"The School Bell"

Words: Mrs. F.A. Safford; Music: H.R. Palmer

Blackman, 0., and Whittemore, E.E. Graded Singers: Book Three.* Cin-cinnati: John Church Cr., 1973, p. 76.

Text

The four lines of each of the two verses are based on the identicalaccent pattern: (rest) The rhyming scheme is a simi-larly regular and simple AABB. In this sense the form and the contentof the verses is very consistent and mutually reinforcing, because themessage is a simple, positive and forthright sermon on the pleasures ofthe work ethic, e.g., it is good to begin on time; to please the teach-er; the happiness of being praised; leave play 'til work is done (orschool is over); don't waste time; keep busy.

Music

The four very regular antecedent and consequent phrases of the songare arranged in a simple, straight forward chorale style. The unim-posing solid melody with its very typical AABA form enhances but doesnot distract from the message of the words. The harmony, though in onlythree parts, is in typical "Bach chorale style," and the steadily movingquarter note rhythm is enlivened by passing eighth notes every couple ofmeasures, in the typical Baroque manner.

FunctionsCommunication: The most obvious function of this song is didactic.

It is meant to teach the principles of what is commonly termed"the Protestant work ethic." The pleasant musical setting ismeant to enhance receptivity to the message as well as toenhance memory of it.

* Enforcing Conformity to Social Norms; and Contribution to the ,

Integration of Society: The work ethic was vital to survivalon the frontier; and persons will be happy and welcome in thecommunity if they are good contributors.

Contribution to Continuity and Stability of Culture: The songmakes clear that all should contribute their efforts to keepthe community vital, stable and a happy place to be.

*For "Grammar, Intermediate, or District Schools."

3i

THE SCHOOL BELL.Woe& he Mr F A .r.non

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How sweet the praise which we have earned, And hap- fly will we be.

There's time for work and pleas - ure too, And busy we must be.

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BEST COPY AVAILABLE

37

"Fatherland"

Franz Abt.

Blackman, 0., and Whittemore, E.E. Graded Singers: Book "tour.* Cin-cinnati: John Church & Co., 1873, p. 47.

Text

The text tells of noble pride in the homeland, and also that "'Tisfrom noble deeds of duty that a nation's blessing comes," so let us keepour vows of patriotism in time when saftey fades and sorrow looms. "Allour success comes from Heaven....Let thine arm shield from harm, Lord,our fartherland." The atmosphere is that of a hymn of praise, resolu-tion to duty, and supplication to God. The "thee's" and "thy's" rein-force the religious feeling, and apparently at this time in America'shistory, there was no problem in publishing+ and using song texts whichunited feelings of God and country in a very spiritu41 manner. Therhyming scheme is a well-balanced and straight forward AABCBCDD(DD).

MusicThe musical,_setting is in a hymn-chorale style which serves to

enhance the reverent atmosphere of the text. The four part harmony isquite basic within'the chorale tradition, and replete with many movingvoices, not unlike the Bach chorale style. The -alodic format is essen-tially ABBCC, and the unifying, recurring rhythmic figure is dottedquarter note, eighth 'note, half note (or quarter note-quarter rest ornote in place of the half note).

FunctionsEmotional Expression: Patriotism and praise for the homeland are

intermingled with pleas of supplication to God for itspreservation.

Aesthetic Enjoyment: Repetitive factors in the text and settingalong with moving voices in the harmonization are probably themost functional aesthetic aspects for most hearers.

Communication: The song communicates ideas and feelings of patri-otism and prayer.

Conformity to Social Norms: The song reminds people of duties tothe fatherland, as well as the pride and joys which springfrom loyalty to it.

Validations of Social Institutions and Religious Rituals are servedby the formal, reverent and generally appealing text and musicof the song.

Continuity, stability and integration of the society are all servedas everyone's benefits and duties are extolled.

*For "High Schools, Conventions, Choirs and All Classes and Choruses ofMale and Female Voices Combined."

4.

FATHERLAND.

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BEST COPY AVAILABLE

39

"Death of Lincoln"

Words: Paulina, Melody: Scotch Tune

Blackman, 0., and Whittemore, E.E., Graded Singers: Book One.* Cincin-nati: The John Church Co., approximately 1873, p. 67.

Text

The words employed in the text are of the old English type, asmight still be found in some religious verses: thou, thee, thy, weal,woe, etc. This gives a hallowed flavor to the lyrics which honor Lin-coln or the "nation's father, friend;" "strong in word, and deed, andprayer," "who didst God's chosen lead," and "hast the people freed."The form of the text is claisically symmetrical and simple. Each of thethree verses has eight balanced phrases, with a rhyming scheme ofAAABCCCB.

MusicThe melody is as classically symmetrical as the text: There are

three measures of half-quarter followed by a dotted half, and thispattern repeats twice before the fourth varies to two measures of half-quarter and two of dotted half. The second half of the melody is iden-tical to the first half described above. The form, in two phrase units,is A,B,A (transposed), B. The ultimate unifying element is the simplehalf-quarter rhythm which permeates the tune. No harmony is provided,but the tune could easily be accommodated by simple I, IV, V chords.

Functions

Emotional Expression: "We bend O'er they grave-sod;" "Griefs thatdarkly swell;" "the martyred dead;" etc.

Communication: The song tells the story of Lincoln's heroism anddeath that all may share in its meaning.

Symbolic Representation: Word meanings aside, the structure of thetext and music, in their classical formality, symbolicallyenshrine Lincoln in a classical setting not unlike that of theLincoln Memorial in Washington.

Enforcing Conformity to Social Norms: The song strongly promotesthe worth and importance of freedom.

Contribution to the Integration of Society: The song stresses thefact that Lincoln freed people and "didn't God's chosen leadthru 'a sea, ah! red indeed! Some Southern people stillresist the idea that the Union supporters were God's chosen,and there is little doubt the song found more widespead favorin the northern states than the Southern States. However, itcertainly functioned to integrate immigrants, many of whomwere escaping oppression in their homelands, into the Americanvalue system, enculturating them with history and a hero.

*For "Primary Schools and Juvenile Classes."

r4 "40

Words t.y ? *.us *. DEATH OF LINCOLN. SOMA Moak

"art. Thou. the nu-tion father, friend. Year by year In thaught we bett2. Thou. who dicrat Cod'echott-en lead Thro a wa, Ah rut ta.det ti :3. Thou -lid's: sad ly pass a way, Lake a toy of yes ter day,

O'er thythy graveud, there to blend (Alai. that AA, ty wed.Thou who hut the' peo pie freed, %Ye have heard thy knellWhen the dawn of peace was ray, And the .Itatiow. tied ;

&nt.:, in watt!. md *levet, Ind prny.r, F.,' thr ,p4111 ;et do and darts.Fare.wei to thine hon.et worth. la thy gni - it north.Now 'hail loutorl (rave .11 thine Ite aft Freedmt., ai tar brine.

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TEST COPY AVAILABLE

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41

"Thirteen Were Saved"or "Nebraska's Fearless Maid"

(Song of the Great Blizzard 1888)

Words and Music by Wm. Vincent

Published as Sheet Music by Lyon & Healy, Chicago, 1888

The text tells of an incident which took place in January of 1888during a blizzard which wracked the Northwest and central region of theUnited States. As reported in the Omaha Special, Miss Minnie Freeman,the "plucky little teacher" at Mina Valley, Nebraska, saved her 13pupils by leading them through the blizzard to a house three-quarters ofa mile away--after the door, windows and roof of the school were blownaway. She did this through the device of tying the children into a linewith a length of twine, thus keeping them from getting lost in theblinding snow. The story is told in verse having the simple, basic AABBrhyming scheme. The refrain is sung twice between each of the threeverses, and at the end.

Music

The melodic format of the musical setting follows on ABAC form forthe verse and an ABCD phrase structure for the refrain (wherein C isbased simply on an ascending scale and D on the descending scale). Theharmony remains very simply I, IV, V oriented with the main point ofvariety being a modulation to the relative minor (F major to D minor)for.the second part of the verse. The actual unifying factor (in lightof 'the lack of melodic repetition other than repeats themselves) is thedotted eighth-sixteenth note pattern which permeates the entire piece.This pattern is generally associated with agitation, excitement andlively motion. Therefore, it is particularly well suited as an accom-paniment to the exciting tale of the "plucky maid" and her class.

FunctionCommunication: A primary use for this music is to tell aLd pre-

serve the story of the fearless maid. The song is also em-ployed to communicate the general concept that frontier teach-ers had to be brave and resourceful people.

Emotional Expression: The song is used to convey the excitement ofthe described situation as well as the admiration for itssubjects.

Entertainment: Inasmuch as the sons involves a tale of danger andadventure, it served the function of entertaining many people,particularly at the time of the incident.

Validation of Social Institutions: In its treatment of the fron-tier school teacher, the song validates the work of suchpersons and the school in society.

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45

"Try, Try Again"

George A. Veazie

McLaughlin, J.M., and Gilchrist, W.W., The New Educational Music Course.(Teachers' Edition). Boston: Gina S Company, 1904, pp. 98-99.

Text

Both the first section rhyming scheme of AABB and the second sec-tions' AAABBB are interspersed with repetitions of the phrase "Tryagain." The message is straight forward: All slIould heed that regard-less of the difficulty of the task, if not successful at first, keeptrying; perserverance; it is no disgrace to fail as long as you tryagain.

Music

The melody is as simple and straight forward as the message:Virtually all movement is stepwise, and straight quarter notes are thebasis for the rhythmic movement. In fact, the end of the third line isa simple desceneing scale. The harmony too is basically I, IV, V,interspersed with an occasional diminished chord, ninth chord and secon-dary dominant. This all serves to set the mood for and point up thesimplicity of the repeated phrase "Try hail'!"

Functions

Communication: The didactic function is basic here. Teaching,communicating the message ,:at perserverence is of great valueis the primary purpose of the song.

Symbolic Representation is employed by example: "Try again" isrepeated again and again.

Enforcing Conformity to Social Norms: Trying and persevering arethe values or norms which were important on the-frontier andthis song drives the message home through repetition.

Contributions to the Continuity and Stability of Culture and to theIntegration of Society: Willingness to try to accomplish, andto persevere at difficult tasks was essential to stable exis-tance in frontier societies. The song persuades toward suchstability, and stresses that all should heed--so the group maybe unified and integrated in its social behavior.

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"Faith, Hope and Love"

Ch. H. Rinck

McLaughlin, J.M., and Gilchrist, W.W., The New Educational Music Course(Teachers' Edition). Boston: Ginn & Company, 1904, p. 86.

Text

The text of this song is formulated in the traditional hymn forworship style, replete with words such as "thee" "thou" and "thy." Eachof the three brief verses is very symmetrically arranged, with an AAAArhyming scheme. Each verse is a clarification of and elaboration on itsinital word (faith, hope, and charity). The text is a strong expressionof some of the most basic of Christian tenets. (Many hymns and choralesare found in song books up to the turn of the century. Their quantitytends to fall off after that.)

MusicThe musical form is

it serves to reflect thelifestyle of the frontiersimplicity and sturdinessof four two-bar phrases,quarter notes and a halfcadence. Such repetitioneffect of "truth."

that of a simple but sturdy chorale. As suchbasic tenets of the text, and the essentialand the people who helped America grow. Theis reinforced in the melody which is comprisedeach having the same rhythmic scheme (sixnote) and each concluding with a descending

adds to the simple, straight forward and study

FunctionsCommunication: The song tends to illuminate the basic meanings of

faith, hope, and charity, and as such serves a didactic func-tion. There is ample research evidence that facts and im-pressions set to congruent music tend to be remembered moreeffectively than verbal communication alone.

Emotional expression: While information is imparted feelings arinfluenced as well ("deep darkness," "dark dangers," and "holus long").

Symbolic representation: symbolic phrases such as "burningbright," "life's fleeting race," and "our anchor strong" areeffectively reinforced in the musical setting. This is espec-ially true of the strong anchor symbol.

Validation of social institution and religious rituals: The tradi-tional choral style of the music and the religious connota-tions of the text serve this function admirably.

Contribution to the continuity and stability of culture: Tenets ofthe common Christian ethic were basic to American culture andthe "melting pot" processing of immigrants.

Aesthetic Enjoyment: Both music and words provide a simple butstrong and somewhat feelingful formal statement - -one whichcould be appreciated by anyone on the classical to mildlyromantic part of the aesthetic values continuum.

FAITH, HOPE AND LOVESuggested by the

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t. Faith 1 thou art our glad- ing light. 'Mid deep darknessness2. Hope! thou art our an chor strong.When dark dangers3. Love! thou art God's smil ing face, Fres - cot here, in

48

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of the night ; Let us keep thee e'er in sight,round us throng ; Hold us sure ly, hold us long,

ev .'ry place ; May we CV er own thy grace.

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Burn -ing ev er, burn ing bright.'Mid the waves of woe and wrong.

While we run life's fleet ing race.

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49

"Morning Song"

McLoughlin, J.M., and Gilchrist, W.W., The New Educational Music Course(Teachers' Edition). Boston: Ginn & Company, 1904, p. 23.

TextThe lyrics and their simple rhyming scheme are very orderly, re-

flecting the theme of the song: Nature's simple, revitalizing beautiesand order are reflected in the dawning of each new day. The text is avery positive one ("We come...With faces blithe and gay,"); and extollsthe glories of the natural environment.

MusicThe musical form is as regular and orderly as the text, being

strictly comprised of six two-measure phrases. These pair off nicelyinto three sets, providing a straight-forward ABC form. The harmony isbased on simple I,IV,V chords and the melody echoes this simplicity byadhering almost exclusively to the natural chord (arpeggio) and scaletones. Rhythmically the piece reflects the same principles, having aperfectly symetrical AABBAA rhythmic format.

FunctionsCommunication: The song espouses a love of nature and the beauty of the

natural environment and order of things.Emotional Expression: The song is a highly positive expression about

life, the renewal of life, and the place of existence.Enforcing conformity to social norms: The work (as well as play) ethic

is espoused in a highly positive manner.Contribution to the integration of sociaty: The song extolls the abun-

dance and beauties of the land which are common bonds for thevarious ethnic groups which share them.

Aesthetic Engjoyment: The words and music reflect a valuing for theorderly progression of simple beauties, and_should stimulate someenjoyment and appreciation particularly for those of a "classical"nature.

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./"For Absent Fiends"

A. Mary A.R. Dobson

Ripley, F.H.% and Tapper, T. Melodic Second Reader. New York: Ameri-c. look Co., 1906, p. 128-129.

TextThe text, is patterned in a clear and simple ABABCDCD rhyming

scheme. It expressed the feeling of and probably is included hereparticularly for the benefit and understanding of immigrant membersthe community. Paraphrase: As evening comes out thoughts go to lovedones on other shores in distant lands. Though it is not totally a songof worship and supplication to God, it is for the most part co. Para-phrase: They pray for us so you may keep us strong and true -.-.. our new

land, as we pray for them. 0 glorious shepherd of thy shep, watch overus all with everlasting -rove until we are reunited in peach. Thustwo-thirds of the text would. be totally appropriate in a church hymnal.Such expressions, along with church hymns themselves, were common up Lothe pub.!,ication of this book. They gradually became less duringthe ensuing years.

Music

Formally the song is in two parts. After a four meausre intro-suction, the first part, structured AB, is set in a minor ,,ode. A twomeasure-interlude and the second part, structured CC, are set in therelative major key. Harmonic interest is ealivedby several secondarydominent and diminished seventh chords, as well as an occasional pedal-point. Rhythmically the tune moves at a moderate quarter and eight notepace, with the predomihant unifying pattern being two quarter notes, adotted quarter and an eighth note. The music is essentially in choralestyle, in key 'mg with the severent, hymn-like atmosphere of the tex...

Functionr,

Emotional Expression: Love, longing and supplication are thethemes. Aesthetic Enjoyment: The text is poetic and themusic has some feelingful reinforcements for it--in additionto some interesting formal and harmonic nuances.

Communication: The text communicates feelings for loved ones andprogress to God.

Conformity to social norms, and Validation of Religious Rituals arefunctions which are ot;cative 411asmuchas, even when beingintegrated into a new society, it is proper to remember andpray for your parents and friends who have been leftbehind--and the hymn-like setting of both the text and choraleuelp to validate the r.ligious aspect of such behavior.

Contribution to continuity,stability and integration of the soci-ety are served for the same reasons. The stabilizating-integration function is effective because the song provides anacceptable outlet and catharsis for the loneliness and/orlonging which were shared by any in the urban immigrant aswell as the rural frontier communities.

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53

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Dick, E.N. Sod House Frontier, New York: D. Appleton-Century Co.,1973.

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Driesbach, C. "Rudiments of Vocal Music" The Kansas Education Journal,Vol 6, Oct. 1869, p. 137, (KSTA minutes, September 8, 1869).

Fwart, John L., "Music Education in Mennonite Academies." Mastersthesis, Kansas State Teachers College, Emporia, 1951 (now EmporiaState University).

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r 'I

55

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