THE TONIC SOL-FA COLLEGE.

New Zealand Graphic, Volume XIII, Issue XXV, 22 December 1894, Page 582

THE TONIC SOL-FA COLLEGE.

4 F I work is most valuable,' says the Daily !| Telegraph, * which turns every village schoolroom into a musical college, which sets up its educational apparatus wherever there is a public room available, and scatters its teachers broadcast ihroughont the land. This, to their everlasting honour be it said, the Tonic Sol faints have done in the face of difficulties much more formidable than public apathy, operating with strange tools and humble labourers, but always pegging away with the enthusiasm and confidence of men who know that they are in the right track. Should England ever become a musical nation, in the largest sense of the term the result will be

brought about by the quiet, unostentatious—and often unheeded—labours of the men who find their highest satisfaction, and gratify their noblest ambition, in seeking to call forth a love of music among the millions.’ Seeing that few people in the colonies have much information regarding this important English school of music, and that comparatively few have an adequate knowledge of Tonic Sol-fa, it is perhaps not a matter ot surprise that prejudice should exist in some quarters in regard to this system of teaching music, which has enthusiastic admirers in well nigh every village in the United Kingdom. Every large centre of population has its Tonic Sol fa Choral Societies and Associations, while there are at this moment nearly four millions of children being systematically taught Tonic So'-fa in the elementary schools of the U oited Kingdom. Great encouragement is given in England to the study of Tonic Sol-fa. In every large centre of population a special instructor is employed to teach music in all the schools. Choir contests are also annually held. At the Crystal Palace 5,000 children from the various London schools annually compete for a valuable trophy. Part-songs, ear

exercises, sight-singing, tests, etc., are gone through before such judges as Sir John Stainer, Mus. Doc., Mr W. McNaught, A R.A M., and other eminent musicians. The influence of these contests is widespread and pregnant. School music specialists and school teachers throng in hundreds to listen. Besides, there are thousands of other teachers eager to learn what can be accomplished at this interesting gathering. In a leading article in Novello's School Music Review the editor says that the most conspicuous features of these performances were the excellence of the executive skill, the voice training, and sight singing. Sir John Stainer and Mr McNaught were the judges last year, and in responding to a vote of thanks. Sir John said that it was a great pleasure to Mr McNaught and himself to be present on this occasion and bear witness to the thoroughness and vitality of the musical instruction given in London Board Schools. He spoke to the children of the advantages they were enjoying, and earnestly begged them to make the most

of their present opportunities. And thus it is that the systematic teaching of singing by note is stimulated in England. It is perhaps not sufficiently well known in the colonies that many of our leading English musicians not only favour the system, but are among its warmest advocates. Amongst others we might mention the names of snch musicians as the late Sir George Macfarren, Mas. Doc.; Sir John Staines. Mus. Doc. ; H. Fisher, Mas. Doc. ; E. H. Turpin, Mar,

Doc.; Joseph Barnby, Henry Leslie, the late Professor Brinley Ricoards, Professor Ebeuezer Prout, 8.A., and others. Many eminent scientists, such as Professor Helmholtz, Sir John F. W. Herschel, Sedley Taylor, and many others testify to the value of the system. With the limited space at our disposal we can only cite a few individual testimonies : Said Sir George Macfarren, Mus Doc. : *At a multitudinous assembly ot the di.cipies ot this system, a piece of music, which had been composed for the occasion, and had not until then been seen by any human eyes save those of the writer and the printers, was handed forth to the members of the chorus there present, and then, before an audience furnished at the same time with copies to test the accuracy of the performance, 4 500 singers sang it at first sight in a manner to fulfil the highest requirements of the severest judges.’

Said Sir John Stainer, M. A., Mus. Doc.: • The Tonic Sol-fa system has an area of work before it, which, as an old notation musician, I will say has never been undertaken by the teachers of any other system. A clergyman came to me saying, “How shall I train my choir?” I replied, Teach them Tonic Sol-fa." ’ Said Prof. E. Prout, B.A. : •! wish to express a most decided opinion, formed after many years’ practical experience, that there is no comparison between the two notations for educational purposes.’ Said Dr E H. Turpin : * Tonic Sol-fa is good in itself, and what it leads to. It is the method of true intonation, it is the best means for learning the staff notation, it gives a proper conception of scales, and the best understanding of music.’

Dr. Perkins : * I believe that Tonic Sol-fa has conferred an untold and lasting boon upon the people of this country.* Nor are the great organs of public opinion silent in the matter. The Times says of Tonic Sol fa * that it is the only national and popular system of teaching vocal music worthy of the name.’ The Nineteenth Century says in a recent issue, speaking of the advance music is making in E ugland, * that it is attributable first and foremost to the great spread in this country of what is known as Tonic Sol-fa, whjch system combines scientific accuracy and consistency with modes of expression the most direct and simple, and that British children are receiving such a grounding in the elements of music as must remain with them through life. ’ Messrs Novel 10, Ewer and Co , the great Staff Notation publishers, in their monthly journal, the School Music Review, say * that the immense strides made in musical education in schools during the last decade, must be ascribed mainly to the facilities offered by the Tonic Sol-fa method, notation, and apparatus.’ Let ns now come to the fountain head of Tonic Sol-fa—the Tonic Sol-fa College, established in 1863 and incorporated in 1375. From its annual calendar we learn that its president is Mr John Spencer Curwen, Fellow of the Royal Academy of Music, and son of its founder, the late Rev. John Curwen. Among the members of the Council we find spch well-known musicians as H. Coward, Mus. Bac; G. Oakey. Mus. Bac. ; J. Snedden, Mus. Bac. ; R. Dunstan, Mus. Bac. ; the late eminent specialist, Emil Behnke; W. G. W. Good worth, Lie. Mus. T.C. L ; W. G. MeNaught, A.R.A.M. Among its honorary members we find such musicians as Joseph Barnby, Dr. Bridge, of Westminster ; Henry Leslie, His Honor Judge Lushington, Ebenzer Prout, B.A. ; the late Professor Briuley Richards, Theo. F. Seward, of Jersey, US. A.; Sir John Stainer, Mus. Doc. ; Villiers Stanford, Mus. Doc., Cambridge; Sir R. P. Stewart, Mas. Doc., of Dublin, lately deceased; E. H. Turpin, Mus. Doc , and many others. The College is in the main an examining body. The founder of the system, the late Rev. John Curwen, laid great stress upon the value of examinations, and the definite teaching which their results indicated. In 1862 a temporary office was opened at Plaistow, London, for the issue of certificates to examiners, and for the management of postal classes and examinations. Steady progress was made, and in the year 1875 the College was incorporated by Royal Charter. Lately rhe secretary and his staff of clerks had to remove from the College, which is situated at Forest Gate, London, E.. to more central premises at 27, Finsbury Square, London, EC. This became necessary owing to the growing importance of the College work, and the need of getting into closer touch with Metropolitan wants. Here are held the numerous Committee and Council meetings, and the quarterly examinations for the London centre, and here the officials direct the postal classes, and the issue and registration of certificates. When we consider that the total issue of certificates from the beginning has lately reached half a million, and that about two thousand certificates are issued monthly, the amount of detail work and correspondence summed up in these figures is indeed enormous. In the summer of each year special classes are held at the College. These, which are in the hands of eminent specialists, are eagerly taken advantage of by students, who come from all parts of Great Britain. The subjects of study embrace the art of teaching music and elocution, voice training, harmony ear exercises, choral conducting, musical composition, counterpoint, and advanced sight singing. Postal courses form a very important branch of work in connection with the College. Isolated students may thus obtain instruction in harmony, composition, expression, form, counterpoint, staff notation, English composition, acoustics, orchestration, etc. The certificates of the Tonic Sol-fa College are divided into practical and theoretical, and are as follows :— PRACTICAL. THEORETICAL. Junior Elementary Theory Elementary Ini ermediate Theory Intermediate Matriculation Theory Matriculation Advanced Theory Advanced Branches. 1 to 5 Harmony Analysis in 3 stages Staff Notation. 3 grades Musical Form in 3 stages Harmonium M usical Expression in 3 stages Stringed Instruments Musical Composition in 4 stages Wind Instruments Counterpoint in 2 stages Staff Notation in 3 stages , English Composition in 2 stages SPECIAL. Acoustics in 2 stages School Teacher’s Music Certifi- Theory of Teaching cate Harmonium Fingering Licentiate * Musical History and Literature Id some quarters it is thought that Tonic Sol*fa and the

staff notations are necessarily opposed to each other. A greater mistake could not be made. They go hand in hand. Indeed Tonic Sol fa leads to the mastery of the staff by the most direct road. The following extracts will show how easy a difficult piece of music becomes when translated into Tonic Sol-fa:

The Tonic Sol-fa movement is making rapid progress. In America some of the leading musicians are its warmest advocates, notably, Professor Theodore F. Seward, the distinguished teacher and composer. The last annual report of the Boston (U SA.) School Board observes that: —‘ Music as conducted in our schools exerts now an elevating and refining influence through the whole process of education.’ It has been introduced by missionaries into such places as Africa, Madagascar, China, Hongkong, Mount Lebanon, Fiji, India, Spain, etc. In Australia the system has earnest and able supporters, Dr. Mcßurney being its most distinguished exponent.’ The representative of the Tonic Sol-fa College in New Zealand is Mr J. L. Innes, of Auckland, Graduate and Licentiate of the College, who is the authorised examiner for all the practical examinations of the College. Mr Innes, who is the only graduate of the College in New Zealand, came from Home under appointment to the Auckland Board of Education about six years ago. Since his arrival a decided impetus has been given to the movement. Large classes, both public and private, have been held with the most, gratifying results. However, Mr Innes’ duties as first assistant master in a large suburban school preclude him from doing as much as could be desired in propagating the Tonic Sol-fa movement in our midst. A lecture was given by him before a large number of local musicians, to whom the system was clearly explained. Practical proof was given of the value of the system in enabling people to sing music at first sight. A large sheet 12 feet square, on which was written a partsong of more than average difficulty, was hung at the rear of the platform in the course of the evening. A Tonic Sol-fa choir was then called upon, who sang the notes first to la, then the words with a readiness and precision which called forth loud applause from the audience. Many persons in Auckland are giving this system their earnest attention, and not a few teachers are studying the subject, though it is to be regretted that greater facilities are not offered teachers to enable them to teach successfully this very important subject. The Maoris who are fortunate enough to be within reaeb of tuition eagerly take to Tonic Sol-fa, and it is with pleasure we hear of the good work being done at the Three Kings' College and elsewhere. We have heard Maori students, during a holiday spent in the Kaipara district, sing an anthem of considerable difficulty absolutely correct, at first sight from Tonic Sol-fa. Among Mr Innes’ most enthusiastic and promising pupils are a few well-known musicians in Auckland. Mr W. Wallace Kidd, Secretary of the Auckland College and Grammar School, has baen studying the system with gratifying success for some time past. He took the Elementary Certificate in 1891, and has been following np the subject with much enthusiasm. He soon obtained the Intermediate Certificate, then the First Grade Staff Notation Certificate, leading up to Honourable Mention in harmony. He obtained the title of Associate in 1892. Then followed Honourable Mention Certificate in musical and verbal expression in 1893, and musical form in two stages in 1894. He matriculated in Juneof this year, obtaining honours in theory. These certificates entitle him to the diploma of Memberof the Tonic Sol-fa College. He was assisted by his father, the late Dr. Kidd, in preparing for the elocutionary and verbal expression examinations. Mr Kidd also obtained First Class Staff Notation Certificates, junior and senior, from the Auckland University College in 1891 and 1892 respectively. He testifies to the great benefit derived from his knowledge of Tonic Sol fa in passing the University College examinations. He has brought some of the Tonic Sol-fa text books under the notice of some of the professors of our University, who showed their appreciation of their value by causing some of the books to be imported for the use of the students. Mr Fred. A. Clarke, is an Associate of the College. He studied with Mr Kidd, and displayed much fervour in

prosecuting his studies of the higher branches of the system. He holds nearly all the certificates mentioned, including honourable mention in harmony, together with the first class Auckland University College Certificates in Musicfstaff notation) mentioned above. Mr Clarke obtained the title of Associate with Mr Kidd in 1892, and also testifies to the

great utility of the Sol-fa system in assisting the student to gain a comprehensive grasp of tbe staff notation. He was one of the boys trained for St. Paul’s chorister boy choir, the first surpliced choir in Auckland, and one of his mates in this choir was our well known local singer, Mr G. M. Reid. Miss Edith R. Clarke, Associate of the Tonic Sol-fa College, is a young lady who has shown much ardour in the Tonic Sol-fa system. She is a teacher under the Auckland Education Board, and owing to her knowledge of this system is of great use in teaching singing. She obtained the Elementary Certificate some years ago, then passed to the Intermediate, obtaining honours in theory. She also holds a Staff Notation Certificate from the College. She is the first lady who has taken the Associate diploma in Auckland. And now, in drawing this article to a close, we cannot but say that if this system of Tonic Sol-fa is capable, as has been proved, of doing so much good by teaching many thousands, as it is every day doing, to use intelligently tbe vocal organs God has given them, in the service of the church and in their social spheres, thousands who but for this system would have been debarred from this duty and enjoyment, and if music is capable of exerting such a powerful influence in ennobling and elevating tbe masses, should we not be helping on a grand and noble cause in our midst, if we banded ourselves together, first to study the system, and then co-operate with the many thousands scattered over the world who are endeavouring in this way to be of use to their fellows ?