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OUTLINES OF EXPERIMENTAL CHEMISTRY: being a familiar Introduction to the Science of Agriculture. Designed for the Use of Schools and Schoolmasters. With numerous Woodcuts. 12mo., price ls. 6d. VIII. KEY TO TATE'S EXERCISES ON MECHANICS AND NATURAL PHILOSOPHY: containing full Solutions to all the unworked Examples and Problems. With numerous Diagrams. 12mo., price 3s. 6d. GENERAL PRINCIPLES OF A METHOD OF TEACHING SINGING IN ELEMENTARY SCHOOLS. BY J. TILLEARD. (Continued from page 409.) IX. MUSICAL RHYTHM MUST BE TAUGHT BY MEANS OF POETIC RHYTHM. N order to exemplify the nature of musical rhythm let us take the following rhythmical passage (Fig. 1) : IN This passage consists of two large "sections of equal length, as shown by the division into two lines. Each of these sections consists of two "phrases," as shown by the brackets. Again, each phrase contains two "measures," divided off by the bars. If we take the crotchet as the unit of duration, there are in the whole passage 24 units, in each section 12 units, in each phrase 6 units, and in each measure 3 units. Here, then, is a symmetrical arrangement of the main divisions. But these several portions correspond not only in total duration, but also in the duration of the separate notes. The second section, taken as a whole, corresponds in this respect to the first, note for note; and the subdivisions of the one correspond to the subdivisions of the other, phrase to phrase, and measure to measure. This will be better seen by actually taking the passage to pieces (Fig. 2): FIG. 2.-RHYTHMICAL ANALYSIS OF PASSAGE. It will also be observed that the initial measure of the second and fourth phrase has the same form as that of the first and third. The entire passage, therefore, contains only three distinct forms of measure, which may be represented by the following measures (Fig. 3). The rhythmical values of the sounds are indicated by figures placed beneath them; one being the unit of duration. VOL. X. NO. 119, N.S. 3 P FIG. 3.-ELEMENTARY FORMS OF MEASURE IN PASSAGE. The accent falls regularly on the first of every group of three units; so that the divisions and subdivisions have an exact correspondence in the relative accentuation as well in the relative duration of the sounds of which they consist. Thus the rhythm of the music is a transfer of the rhythm of the poetry; the measure representing the foot, the phrase the line, and the section the half of the quatrain. This will be more distinctly seen by writing the poetry separately and dividing it off into feet : "We live so mĕrrílý, | Happy and free, 'Neath the oak | tree." The regular anapast is represented by the measure containing three crotchets; the irregular quantities of the feet merrily and cheerily by a corresponding variation in the duration of the sounds; and the exaggerated quantity of the words free and tree by prolonging the sound through the whole measure. * In this way musical rhythm is determined by poetic rhythm. It is true that in its highest forms music is now entirely independent of poetry; but this is the result of the development of forms derived originally from poetry; and, in regard to vocal music, with which alone we have to do, the influence is necessarily immediate, for, other things being the same, a melody is excellent in proportion as it brings out forcibly the rhythm of the poetry. It seems to us to follow from this, that in order to make pupils understand and properly express the rhythm of music, it should be taught by means of the rhythm of poetry. This will be best done by making particular examples the basis of the explanations.† * Edgar A. Poe's notion that poetic feet ought to be reckoned, not so much by the number of syllables as by the time occupied in pronouncing them, receives striking confirmation from the adaptation of music to poetry. An idea is gaining ground among German teachers that the best way of teaching music generally is to make tunes the centre points of the instruction. In a review of musical publications which appeared in the "Pädagogischer Jahresbericht" for 1853, the writer, Mr. Hentschel, Director of Music in Berlin, says : "In regard to musical instruction itself a review of the publications in this department does not present anything essentially new. But it is important to note that the idea, advanced by various writers in recent years, of a plan for the musical instruction which should be similar to that adopted by Otto, Kellner, Pechner, and others in teaching grammar, is gradually gaining ground. From a comparison of the two subjects of instruction, Mr. Meyer comes to the conclusion, that while the piece to be read is, as a rule, only a means to an end, the piece to be sung, that is, its faithful and self-conscious reproduction, must itself be the end, from whose educative power the further advancement of the pupil is expected; that the common school, linking all theory to particular compositions, should know nothing of a separate theoretical course; and that the school song-book, in a still stricter sense than the |