THE TONIC SOL FA MOVEMENT.

Marlborough Express, Volume XXVI, Issue 117, 22 May 1890, Page 3

THE TONIC SOL FA MOVEMENT.

.*— (COKTEIBUTED.) In the good old days of fifty year§ ag°> the "good old days" of dense ignorance for the majority of mankind, there occurred a laughable incident m a country church m the South of England. The authorities, after great debate, had decided to invest m a barrel-organ, there being very few musicians m those days, and an organist quite out of the question. The instrument duly arrived, and for a few Sundays delighted the congregation, wearied with the scraping and tootling of the village orchestra, which had formerly, done duty m the church. All went well until one memorable Sunday morning. ■ After the singing of the first hymn the people sat downward as usual all bowed their heads for prayer, when there was a startling click, and the machine started to grind out the tune " Lydia." All looked indignantly at the innocent sexton, who with a very red face, was pulling at this and pushing at that, but to no purpose ; like the celebrated mechanical cork leg, there was no stopping it, and to make a long story short, the assistance of several stalwart farmers had to be obtained to carry the instrument (playing all the time) down the church and out into the church-yard, where it continued its unwelcome music until the whole of the twenty tunes were exhausted. Where now are the village bands and church barrel-organs that some of my readers may still remember gone, with a great many more things we can well spare ? In their place we have the efficient organist, the well trained choir, the singing class, and the choral society, capable of interpreting the greatest of choral _ works. Music plays a very considerable part m our daily life, and few nowadays care to confess that they can neither play nor sing. This also has its disadvantages. The universal spread of musical education of late years, owes a great deal to what is known as the Tonic Sol Fa movement originated with an energetic worker Tn the public cause— Mr John Curwen. I have his portrait before me as I write— a rugged, earnest, Oarlylean face, deeply lined with the traces of many an intel- ' lectual struggle. He, (perhaps the pioneer of modern education), conceived the idea of making music, with all Its refining and elevating influences, the property of the poorest. A Miss Glover m 1835.proposed a scheme for rendering psalmody congregational. Her scheme was elaborated by Mr John Curwen, who spent his entire life m the work, and at the present day we see the grand results of what has been accomplished by this philanthropist and his colleagues, namely, a country where the singing is the best m the world ! The tonic sol fa system of notation may be briefly described as one which substitutes syllables for symbols, which smooths away all the difficulties and makes learning to sing a delight. It is so extremely simple and logical that a good teacher can do more with it m six months than can be done m six years by the older system. This has been proved over and over again. In very few schools m the old country is the old notation now used, and there will be fewer still as time goes od. "* In 1888, 13,999 schools were being taught by tonic sol fa, representing 85i per cent of those who used a notation. at all, and, considering the fierce opposition and ridicule the system met with m its earlier years, this fact alone speaks . volumes. The opposition is being gradually withdrawn; and assistance is being given to the movement from quite unexpected quarters. For instance, recently the great music publishers, Novello and Co., have decided to issue the whole of their immense catalogue of vocal works m tonic sol fa. Most of the eminent musicians of the day speak well of the system, and some are thankfully adopting it. Sir John Stainer, when organist of St. Paul's Cathedral, had all his choir boys taught by the new notation, and m a recent paper read before the Musical Association of London, he spoke warmly m its praise. One of the chief elements m the success of the movement has been the founding of the tonic sol fa college, a body of competent musicians banded together for the purpose of granting certificates of musical skill, giving instruction m all subjects from class singing to musical composition m its lower branches, and m other ways to encourage the spread of music, and, more particularly of the tonic sol-fa system. The usefulness of the college has been largely increased by its * unique system of granting certificates. All who have taken the higher certificates are allowed to examine for the lower ones, and on their representing to the college authorities that the candidate is eligible, the certificate will be forwarded. An examiner may even grant the elementary certificate without communicating with the college. This system saves a great, deal of expense. A consideration of the requirements wili show the value of these diplomas. For instance, to obtain the' Member's certificate, one has to be capable of singing difficult music at sight ; writing, down the melody and analysing the harniony of a tune sung by a quartette m the presence of the candidate (a very difficult feat) etc. The highest diploma of the college is a fellowship, which can only be obtained by one who has undergone a a thorough musical training. Certificates are given for proficiency on the violin and other instruments, but all have to go through the singing course first— a very sensible arrangement, and one calculated to form musicians, as distinguished from mere players. Those who intend to study the new system of notation should procure a copy of " The tonic sol fa short course " and the "Home Modulator," (the two will cost- with postage the modest sum. of 3£d) and with or without a teacher sing through the exercises given. The work will be profitable and enjoyable.