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Second-They do not form a link or part of the system by which the other lessons of the school are taught.

Third-Are given without reference to consecutiveness or relation to any future subject. The only object of the teacher or lesson is to give information on the object which is the subject of the lesson. And though this is "object teaching," it is without an object or a system; only fragmentary lessons.

It is not matter that our schools are starving for, but method; not subjects, but a system. It is to system, more than subject, that nearly all great men, all great achievements, owe their greatness. It was not philosophy, but a system of philosophy, which made Socrates immortal; which has embalmed the name of Euclid, and retains for posterity the common sense of Bacon. And it is to a correct system of education, founded on Christian principles, that humanity will owe its redemption. This, I believe, to be the object system. I trust that the builders in the temple of human progress will not reject this corner stone.

MUSIC.

BY DR. T. CROSSETT.

I feel myself honored in being permitted to present this subject before you, not that I suppose you give me credit for superior attainments in this profession, but because I find that vocal music, and the principles involved, are beginning to assume that position which I have for many years wished to see it take among those who are the educators of our youth.

I do not come before you with those beautifully formed sentences that send a thrill of pleasure to the soul of each listener, but as one who for half a century has been listening to the sweet concordant sounds of nature, and for nearly one-third of a century has been engaged in trying to impart instruction to others. A grave question arises in my mind as to what course would be the best for me to pursue in speaking to you upon the various themes or different points that present themselves which require consideration. If I discuss theory at this late hour, I feel that my time will be nearly lost, for you, as a body, are not theoretical musicians.

Thorough bass, and the scientific progression of sounds as they gradually and almost imperceptibly resolve into each other, would not interest you if they were explained.

I could speak of the different departments into which sounds are divided, and tell you of their length, pitch and power, and of the laws that govern in each department.

Rhythm, melody and dynamics are not themes to interest at this time, but perhaps I can say something that shall form a pleasing theme to your minds, and cause you to believe that you can do something to advance this grand subject. You have met here for a noble object-mutual instruction upon those subjects which you have to discuss before the pupils entrusted to your care during the ensuing year. You are here because you wish to keep step to the music of old father Time, as he goes in a progressive manner down the cycles of years.

Music is one of those departments that you have declared is necessary for the school room. You gave no reasons in particular. I will try to impress upon your minds the idea that the lover of music has a better appreciation of the beautiful than one who has not a soul that responds to the concord of harmonic sounds.

I regret that there is not time for me to begin and go through pro

gressively each of the different departments, showing in what manner I would impart instruction to pupils under my care, and hear others tell of their practical experience.

After proper explanations, I commence talking to the children, and call their attention to various sounds. I clap my hands together, walk upon the floor, strike upon the desk, ask what the clock is doing, tell them to listen to that carriage, or the cars, speak of the drum, ask them what they were doing Fourth of July, tell them that fire crackers, guns, cannon, etc., are musical instruments. I ask them if they have ever been to Woodward's Garden; to tell me which department of music the growl of the bear belongs to, the barking of dogs, etc., and so go on, until I have fixed upon their minds most of those sounds that repeat themselves in longer or shorter tones, until they are able to distinguish those which have rhythm as their prominent feature. I then name some of those that have the prominent characteristics of melody developed in them when heard. I speak of various birds, of the singing of men and women, and of various instruments, asking them to name them. They will tell you of organs, pianos, violins, flutes, brass instruments and many others. In dynamics I tell them of the carriage or of the cars whose sounds grow louder as they draw near, and weaker as they go from us, until lost in the distance, and tell them that this forms the increasing and diminishing tones.

I speak of the winds as they rush past an object, creating a whistling tone, sometimes loud, at other times soft and whispering; again, of the waves as they come from the great deep, rolling and pitching upon the sea shore, with their heavy sound; at other moments when the tone dies away and only a gentle rippling is heard upon the beach. The class soon discover, by various illustrations, that every tone has one or more of these qualities prominently developed; to these things 1 give particular attention. My efforts, ladies and gentlemen, at this time, will be directed to those sounds which are heard in nature, and while speaking of them, I shall try to impress upon your minds the fact that they are musical sounds, and close by calling your attention to the particular organ that we inherit as Nature's gift. All sounds are created by the vibration of a column of air, and have a definite pitch, length and power given to them. Nature, in every effort, gives forth its song, which tells of the power used to generate its tones. When the mountains heave, because of the struggle within them, they bellow with the thunder's tone, and howlings, hissings and screechings tell of the mighty conflict in which varions elements combine and are trying to overpower each other. Have you ever listened to such, and measured the length, pitch and power of their tones? This is the music of nature, when with vengeful wrath the elements meet in strife and try to destroy each other. Antagonism is the principle when Nature's sounds are created. The ice king reigns supreme on yon mountain top-sits amid the frost and snows listening to the music of the winds, as they come laden with the congealed mists that help to increase his whitened bed-from age to age. And this is not all the music that he hears, for the winds whistle their shrill tones from the deep, dark and yawning caverns that lie beneath. These songs are like some angered spirits striving for relief, but whose prison bars restrain them, when they rush back and forth giving those screams that are frightful to the human ear. There they have been answering to the songs of nature ever since creation, and their echoes shall tell their tale during all time.

In all things the character of the music conforms to the special impor

tance of the elements combined. I need not refer you to the cataract, with its rushing, mighty power, or to the battle field, with its thundering cannon and rattling firearms, or to the clashing of the sabres when the deadly charge is made, or to the groans, screams or yells of the combatants. These are only a part of the machinery put in play when the fiendish spirit of man attempts the work of destruction upon his fellow men. This is the music of the battle field. Not concordant, but discordant. The dark storm cloud, while discharging its electric fluid, causing the heavenly artillery to be heard in all their terrible power, forms but one species of the grand music of nature. The column of air in many cases vibrates so slowly that the human ear cannot detect its pitch, length or power. Other sounds are so acute that their vibrations cannot be determined or fixed to any department of music. All nature is vocal. The whale has the power of communicating to its fellow associates at a great distance; which is evident when one is struck by the harpoon, for all others in the immediate vicinity and those for miles around seem to take warning.

Some of the smaller finny tribes, while in their aqueous element, give forth sounds that are distinctly heard by the human ear. Every fish, from the leviathan to the most diminutive, has its power of conversation, each species speaking in its peculiar dialect. So upon the land, from the elephant to the smallest insect that moves on the face of the earth, although not visible to the naked eye, each of these sing their song of life. Even the very air we breathe is vocal with life's happy songs from its inhabitants. Each of these grades have special organisms, that make them capable of comprehending in the particular sphere in which they move. Everything is vocal, and gives its songs as it rushes past in the great struggle of making the most of life. The messenger of death sings its terrible song as it goes upon its course creating sorrow. Cannon balls sing their songs of death as they speed upon their errand of destruction. The modern shell gives its dismal scream as it flies through the air. The rifle, carbine and the pistol each send their leaden messengers with an acute whistling, as they are propelled with almost lightning speed. The powerful eagle comes down upon its prey with a rushing sound. And you of this city are familiar with the groans, when violence is being done to the laws of nature, and in her terrible struggles she causes the earth to quake. The roar of the flames, as they are destroying your most loved objects, gives forth a sound that sends a thrill of anguish to your souls. They that go down in ships upon the great deep bear music while scudding under bare poles. But when the cry comes that the breakers are giving warning immediately upon their track, then it is that fear fills every breast, for the ominous song of the breakers tells with terror unspeakable. What we say with regard to the various tones of nature applies with equal force to those of the animated races.

The harsh, grating voices usually come from those whose natures keep them in antagonism with other species of animals. The lion, tiger and all carnivorous, fierce, antagonistic beings give their harsh guttural tones. The same may be said of birds of prey. Their tones are not soft and mellow, but are given in coarse, screeching accents. Man, who, of all others, claims to be so near the Divine, shows his natural instincts and education in his tone of voice. Those of low ideas, without education, usually give utterance in coarse vulgar growls; their vocabulary of words is quite limited, and those only of a class that speaks of their depravity. They resemble the carnivora in tone. I

speak of those who have not been improved by association and education. The educated man often shows by the tone of his voice the peculiar qualities of his mind. I was forcibly impressed with this idea many years since, while listening to Massachusetts' noble orators, Daniel Webster and Rufus Choate. The logic of Webster was borne upon the air so as to be heard by the thousands there assembled, in a deep, grave, full, sonorous tone. He seemed to utter sentences with an irresistible power-just such a power as one would expect from the great constitutional expounder. Mr. Choate's thoughts were uttered in full, flowing and acute tones. These gave the proper expression to those beautiful rhetorical sentences which fell in rapid succession upon the ears of his immense audiences; his articulation clear and distinct. But he bad not those ringing, silvery, melodic tones which came from Mr. Clay's vocal organization, telling of the rich, beautiful thoughts that acted with a magnetic influence upon all who heard him. Neither had he the shrill piercing tone of Randolph, which gave to an audience a knowledge of his peculiar character, but he seemed to float in an atmosphere of acquired grammatical phrases properly arranged; while Mr. Webster showed that depth of thought which nature only can give, and could not be expressed in different tones without spoiling its effects. Each made the music that nature had adapted to their peculiar circumstances. Tones that send a thrill of pleasure to our souls are usually expected to come from the beautiful and lovely. We anticipate delight in the company of the educated and refined. Those voices that float with sweet melody usually come from genial, nappy thoughts, for the voice in most cases is the index from which we judge of the indwelling soul, while it gives utterance to those thoughts which are supposed to be the natural production of the mind, assisted by the powers of education and association. Such a one's voice gives music that fills all with pleasure; these form the beautiful sopranos, and when they trill their loved tones we ask for no siren's song to fascinate, for we seem like those in a blissful realm. The tension of the nerves is relaxed, care is gone, the mind is absorbed. When under such influences a thrill runs through us which responds to the sweet melody or concord of harmonic sounds. The air seems filled with ministering spirits, each whispering of some loved object dear to us as life itself. Most of us have heard the viol, flute and guitar during the short hours of night. At such times their tones will arise with peculiar eloquence, and while in a somnolent state they will seem to be the whispering of some fairy dell where those nymphs flit past in their midnight dances. You then had golden dreams pictured upon the mind more glistening than brilliant diamonds, for sparkling gems were being showered upon you, while rippling streams, with their silvery tones, seemed to bear you gently along. I have felt at such times as though the heavens were hung with wreaths of roses, while fairy forms, sylph-like, floated in ethereal space, and I was reclining upon Flora's rich velvety couch, where a fragrant perfume pervaded that seraphs would love to breathe.

I tell you there is no charm like music at the right time and place. You will say that this is imagination. I will then ask you whether the majority of objects sought for in this life are not imaginary. Can the glistening diamond give health to its possessor? is there any real happiness in being owner of the brilliant gem? I think it is in imagination only that such find pleasure. So with gold, pearls and precious stones. They only tell upon the visual organs, and vanish when the rays of light are gone. These, with all their brilliancy, can form but a faint compari

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