Music in Our Schools by C. C. Lewis

Review and Herald Publishing Association · Takoma Park Station, Washington, D. C. · Sep 6, 1906

Music in Our Schools

By C. C. Lewis

A RESOLUTION in regard to music was introduced just before the close of the recent educational convention, and in the press of business was passed without comment or explanation. It was so general that nobody could see any objection to it, and it sounded so good and loyal that all were in favor of it. A more careful examination, however, sets one to guessing what it means and how to apply it. Of course music not in harmony with the spirit of our work should not be used. What is music? If reference be made to instruments, what instruments are intended? Surely any “grade of music which does not and can not tend to the increase of spirituality on the part of either students or teachers” should not have a place in our schools. What “grade of music” is meant? Does “grade” refer to difficulty?—Probably not; it doubtless means class or kind. But each one is left to answer the question from his own standpoint according to his own convictions.

There are three general classes of music: First, “rag-time” music and sentimental songs. This is the popular, giddy music of the day, sung without thought or taste, and banged without mercy on the instrument. It corresponds to the sensational in literature. Probably all would agree in ruling this class of music out of our schools and our homes.

Second, sacred music and gospel hymns. This corresponds to the sacred in literature. All will want to retain this class. We need to exercise caution, however; for much which is neither music nor poetry has crept into the religious songs of the present age. It should be weeded out.

Third, classical music. This does not pertain to the history, literature, or art of the ancient Greeks and Romans. That is the meaning of the word “classical” in language and art, but not in music. The Greeks and Romans gave the world no music worth preserving. In music, “classical” means “conforming to a high ideal, chaste, pure; composed by the great masters.” It is the music which, on account of its beauty of melody and sweetness or sublimity of harmony, has endured, while other music has been forgotten. It has come to us principally from the German, Italian, and Jewish peoples. Much of it is sacred. Many of our hymns are snatches from its compositions. It embraces home, folk, and patriotic songs, and songs of courage and friendship which have soothed and cheered the hearts of millions. Some might wish to discard such music because of its name, classical, or because their ear has not been trained to appreciate or enjoy it. Others would retain it, especially for the training of music teachers; just as teachers of English think it wise for their pupils to study the great masters of English as well as sacred literature. Studying classical music is like studying the writings of the great poets. Perhaps some do not like poetry. Would it be best for them to deny the study of poetry to those who do like it? Perhaps they would even themselves be benefited if they would cultivate a taste for poetry.

When the course of study for music teachers was before the convention, one speaker said he had observed at camp-meetings that many players who had received much musical training could not play hymns well. When asked where they received their training, he could not tell, but said they were called fine players. Probably worldly teachers neglect sacred music, keeping their pupils on popular and classical music; hence their failure to play hymns well, not being accustomed to hymn playing. It may be that teachers in our own schools have made the same mistake. A judicious blending of the sacred and the classical is best in the judgment of the writer. He has had opportunity to observe the effect of this plan in three representative schools of the denomination, and he feels justified in giving it his indorsement. Care should be taken, however, not to let the piano and classical music crowd out the organ and sacred music. On this point, Prof. B. R. Shryock, director of the School of Music, Union College, says: “All piano pupils should study the organ. It gives the smooth, legato style which is so difficult to acquire on the piano. A pianist is a poor one who can not play the organ beautifully. The denomination needs ten organists to one pianist. All Seventh-day Adventist young people should play the organ well enough for services.” The enrolment of organ pupils has risen from six to fifty during two years of his leadership.

The writer is in full sympathy with the resolution passed by the educational convention, believing it to be in harmony with the judicious use of both sacred and classical music, and understanding it to exclude the popular sensational and so-called “rag-time” music of the present day.

C. C. LEWIS.