UNITED STATES.
It is a matter for surprise and deep regret that the United States
Federal Government should show a lack of interest in musical education.
But our young country is not likely to remain for long behind smaller
lands. Our hope is secure in the fundamental generosity and wisdom
of our national mind, which now squanders vast sums upon musical
diversion, but spends nothing at all for the free musical education of
its gifted citizens.
We have in this country a strange mixture of races and of ideals,
all contributing something of Old World conditions, and combining
to form a new type. The people who struggled so bravely through the
Eighteenth and Nineteenth centuries were of various origins, but all
came to the struggle with tragedy of some kind or other implanted in
their mental composition. Emotions beat the pioneers into their one
refuge, the Church; even the ballad, simple as it was, found but scant
room where the prayer book lay. Pioneer life gave little ground for
complication of stimuli, until the Nineteenth century opened the gates
of our country to the industrial inventions, and to the discontent
of foreign labor. A subdued and almost religious atmosphere stifled
emotions during the first half of the Nineteenth century, but the waves
of reform sweeping over Europe found their way even here by 1861, and
the Great Civil War would have stirred us to our depths, had not the
mighty currents of feeling within us been kept in subjection by our
Church habits. The few valves of relief permitted to our people in the
primitive vaudeville and theatre productions, were not sufficient to
offset the irritation of quickly complicating economic stimuli. At this
period our immigrant population came from England, Ireland, Scotland,
Wales, Denmark, Belgium, Germany, Sweden, Norway and Switzerland.
These immigrants generally possessed cool heads, and were of fine
stern characters, skilled in various crafts, and they came to stay
permanently. They became one with our people, and our struggles were
their struggles. Italian opera and the higher intellectual diversions
were later additions to the pleasures of the rich, but the masses
rarely shared in such amusements, and the old-fashioned ballads, and
the splendidly developed hymnal Music furnished our only relief for
emotional disturbance. Yet this was endurable because of the beautiful
hymnal exercise, until the gold-fever and the oil-madness, united
with the agitation of the Southern States, set our emotional depths
to new movements, and the cry of the laborer for liberty and of the
manufacturer for more power, added fear and rage to our every-day
emotions. The rapid rise of our national power, the enormous strides
in public education, and the incredible multiplication of stimuli upon
every side, twisted and stretched our national nerves until we now see
ourselves confronted with an abnormal type, which must soon find its
normal calm in rhythmic pulse action, or else go to pieces under the
strain. Nowhere have we any outlet or re-establishing agency, except
in the dance, and in such cheap shows as permit of but a partial
relief. The class of foreign labor arriving since 1883 is from the
south of Europe, illiterate, fiery, adding another element of danger
to our tense nationality, and still our blind government has not
opened musical safety valves, for the steam that is fast rising to the
bursting point. Our musical talent is of the finest order, but, not
having any governmental aid in free instruction, is obliged to go to
Europe, there to learn to compound a German, French or Italian medicine
for an American disease, when our peculiar social pressure demands a
particular American remedy. Private schools, having only their own
financial gains in mind, are farcical agents for carrying out any truly
social functions. The land cries out for its own musical culture, as
strongly in rural districts as in urban. Cannot the government see
that musical employment in America is already covering a vast field?
Scarcely any function is conducted without Music. Restaurants, hotels,
clubs, opera houses, plays, churches, funerals, weddings, social
events, parades, steamboat service, labor union meetings, support
hundreds of thousands of professional musicians. Yet practically all
of this employment is given to foreign-born talent, because only the
well-to-do in America can study Music, and the common people who may
possess the best talent, and who may both love it and need it the most,
are denied this means of making a living, while municipal governments
spend useless thousands upon concerts, and a few park bands which but
whet the public appetite, while our rich musical talent among the poor
lies dying and neglected.[37] No wonder revolution knocks at the door!
The government is giving the eye-openers in its free educational plan,
so aiding the disturbance of human rhythm by sensational newspapers,
noisy streets, high prices and too quick life, yet closes the door to
free musical instruction which would tranquillize the mind, and restore
equilibrium of pulse. The churches nail down the natural impulses, and
society frowns upon “new” forms, but nature will generate her energy
nevertheless, and pent up in the human system it will boil over at a
certain point.
The United States is by no means lacking in prosperity, sufficient for
the maintenance of public musical instruction for the culture of a wage
earning occupation. Our financial reports speak for themselves. In
comparing our prosperity and our neglect of musical culture with the
activities along this line as carried on by other countries, great and
small, the following letter from ex-President Taft may be of interest:
The White House, July 3rd, 1909.
Washington.
My dear Sir:--
I have your letter and I do not think it possible to secure from the
American government any appropriation for the promotion of musical
schools. This must be done by private munificence if at all.
Sincerely yours,
WM. H. TAFT.
America is mad for Music. The moving-picture shows are saving our
sanity with their rhythmic combinations of light and sound waves,
their daily audiences amounting to 5,000,000 people in 14,000 picture
theaters, and 4,000 subjects annually placed upon the American
market.[38] By this means we retain our rhythm, but the higher remedies
of the orchestral concert, opera and chamber Music performances are
denied the people who have no wealth, while the hundreds of thousands
of paying positions in the bodies which compose these forces, are
likewise prohibited to our native talent, because there are no free
schools in which such talent can be developed. Only the well-to-do may
study Music in the United States and, strangely enough, our real talent
often lies not in this class, but outside of this charmed circle, down
among the elements of our foreign-born and the natives of foreign-born,
whose ancestral nerves have been fed upon nationally provided musical
rhythm.
United States gold should be showered over the health-giving and
joy-bestowing field of National Music, so fondly loved by the people,
and so necessary to mental and physical relaxation from the maddening
strain of modern life. A bright star will adorn the administration of
the first President to take this need in hand.
FOOTNOTES:
[37] The value of the musical instruction as given in public schools
is not worth consideration beyond its diversion aspect. The singing is
a menace to correct voice placement and the remaining exercises are
insignificant.
[38] American Industries, January, 1913.
APPENDIX A.
QUESTIONNAIRE.
The exact form of the American questionnaire employed in the gathering
of statistics is given below. The inquiries sent abroad followed the
same plan and had the same scope, but were couched in somewhat more
indirect and formal terms, and of course each separate set of questions
was sent out in the language of the country to whose officials it was
directed.
For a statistical work I need some official information in regard to
the following queries:
1. How much does the American Government expend annually upon public
conservatories for free tuition of pupils?
2. How much do the single states contribute annually for the same
purpose?
3. Is there any subvention for Grand Opera from the American
Government or from the States?
4. Is there any subvention for Orchestra organizations, or for Choral
Societies?
5. Are there any prizes granted annually from the State for musical
achievements to composers, singers, players?
6. Are there any endowments from the American Government or from the
States to enable young gifted musicians to complete their musical
education in America or abroad?
APPENDIX B.
SOURCES OF STATISTICAL MATERIAL.
The sources of the statistics in this appendix are indicated in the
first table below.
Gladly I take this opportunity again to express my appreciation of the
invariable courtesies extended in answer to my inquiries. Elsewhere[39]
will be found the names of the officials whose painstaking and
often detailed reports made it possible for the author to convey to
the reader a picture of the relative support given to music by the
governments of foreign states.
_Official or Institution_ _Communication_
_Country_ _Furnishing Statistics_ _Dated_
Austria Imperial Academy of Music and Dec. 13, 1912
the Fine Arts.
Bavaria Minister of the Interior for Apr. 21, 1913
Religion and Education.
Belgium Minister of Arts and Sciences. Feb. 4, 1913
Denmark Danish Consul-General in New May 8, 1913
York. May 13, 1913
Equador Quito Conservatory of Music. Aug. 31, 1913
England National Education Board, Dec. 24, 1912
Whitehall, London, England.
France Paris Conservatoire. Feb. 9, 1913
Holland Minister of the Interior. Mar. 19, 1913
Hungary Secretary of State, Budapest. Mar. 23, 1913
Italy Minister of Instruction. Mar. 10, 1913
Norway Royal Inspector of Music in Dec. 15, 1912
Christiania.
Prussia Consul-General of the United Mar. 10, 1913
States in Berlin.
Russia First Secretary to the Russian May 28, 1913
Embassy, Washington, D.C.
Saxony Minister of the Interior. Apr. 8, 1913
Sweden Royal Conservatory of Music, Jan. 4, 1913
Stockholm.
United Chief Clerk, United States Mar. 15, 1913
States Bureau of Education.
FOOTNOTES:
[39] See pages 16-17.
APPENDIX C.
These figures are merely intended to give an idea of foreign activities
in national annual support of musical culture. Comparisons, without
more detailed statistics would be misleading and unjust. Therefore per
capita calculations have been purposely omitted.
All Military Band expenses and appropriations have been deducted from
the statistics received. Saxony and Bavaria as mere states, do not
belong to above list, but the praiseworthy achievements of Bavaria are
shown in her total expenditures of 703,030 Marks annually.
_Square_ _Foreign_ _American_
_Countries_ _Population_[40] _Miles_ _Money_ _Dollars_
Austria 28,568,000 115,903 1,730,084 Kronen 351,207
Belgium 7,317,561 11,373 641,275 Francs 123,766
Denmark 2,775,000 15,582 20,600 Kronen 5,520
Equador (1913) 1,400,000 116,000 28,500 Sucre 13,879
France 39,252,000 207,054 1,971,118 Francs 380,425
Great Britain 45,947,000 121,510 4,600 Lbs 22,385
Holland 5,858,000 12,648 32,000 Florins 12,864
Hungary 20,851,000 125,430 1,126,033 Kronen 228,584
Italy 34,565,000 110,659 851,340 Lire 164,308
Norway 2,393,000 124,130 15,700 Kronen 4,207
Russia 142,585,000 2,217,929 139,900 Roubles 72,048
Sweden 5,476,000 172,876 313,017 Kronen 83,888
FOOTNOTES:
[40] _Scientific American_ of 1913.
APPENDIX D.
NOTES ON TABULATION.
The foregoing tabulation may be considered fairly representative,
because the relative resources of each country, and the relative cost
of sustaining musical institutions tend to equalize the sum of their
actual benefits to the people. Bavarian and Austrian institutions
charge small rates for instruction to native talent, but much larger
sums to strangers. France and Belgium charge merely entrance fees to
natives, but strangers pay a comfortable sum, and must pass a difficult
examination. The letter from the celebrated violinist and teacher,
Ovid Musin, given in Appendix E, shows that there are two classes of
students, native students who pay a very small fee, and foreign paying
students. The letter was a reply to our inquiry as to tuition fees
charged by French and Belgian musical conservatories under governmental
control. Italy also charges a small yearly sum for instruction of
natives, but all of her institutions teach exceptional talent free of
charge, if inability to pay on the part of the applicant be proved.
Italy’s distribution of her culture in Milan, Naples, Palermo,
Parma, Florence and Rome, presents an area most creditable to her
governmental care of Music. Considering Italy’s position in the
commercial world, her figures represent a high proportion of attention
to musical needs. This we would naturally expect of that grand old
Mediterranean race, which has never failed in all of its wondrous
history, to uphold its loftiest ideals despite its calamities. Her
musical genius has always found national protection. Italy has thus
shown her wisdom.
The density of France’s population brings down her _per capita_
expenditure.
The difference in the charges to native students may depend upon the
varying cost of support in different countries. For instance in Vienna,
$40.00 per year is one charge, while at Brussells the charge to natives
is but $1.00 per year.
Even were free tuition not given, the governmental institutions
charging for instruction would still be great aids to the advancement
of musical culture in their respective states, as the small sums
charged are within the reach of those who can have their days free
for study. How far would $40.00 go in musical education in the United
States? In America, vocal and piano teachers charge from $2 to $5
per lesson, to maintain their position among so-called first class
teachers. Car fares, Music, instruments, clothes, tickets for concerts,
operas, etc., would exhaust $40.00 in a month; and while an ambitious
brick-layer could easily pay $40.00 per year, for his child’s musical
education in a governmentally supported college, $40.00 per month would
represent the full wages of two of his girls, working all day long in
a department store. “Free Schools of Music” would not be nearly so
successful as “National Schools of Music,” because our people do not
like anything which tends to divide those who can pay, from those who
cannot. The wise among our well-to-do American parents now send their
children to our public schools, in preference to private academies,
knowing well the superior advantages thus gained. When it becomes known
that National Schools of Music are on a par with State universities,
offering the world’s best instruction and the very best advantages,
then graduation from such institutions will be a matter of pride to
anyone, rich or poor.
_The Question of Fees._
As we have said, the small sums required as entrance or tuition fees
by some of the musical institutions under governmental support, do not
detract from the value of such institutions; but it would scarcely
be just to place all of the conservatories so conditioned, upon a
par of public spiritedness with those which take no fees whatsoever
for tuition of native pupils, unless some superiority of educational
advantages in the former tend to equalize their benefits. It is
impracticable to judge of the merits of each institution, and such
a critical examination is not the purpose of this work; but mention
of the systems employed by a few countries showing special care of
national musical culture, may not be out of place here. Belgium has
produced much of the world’s genius, giving us from her conservatory
at Liege alone, such splendid artists as Martin Marsick, Ovid Musin,
Ysaye, Cesar Thomson and Remy. Liege charges no fees to native talent.
In his reply[41] to our request for information concerning fees in the
French, Belgian and Holland conservatories, Ovid Musin attributes the
marked artistic results of the Belgium conservatories to the fact that
the remuneration of the professors is such as to enable them to devote
their entire time to their conservatory pupils; foreigners pay 200
francs a year, but native students receive free tuition.
In response to a similar request concerning fees in Italian
governmental schools of Music, Signor Gatti-Casazza, director of the
Metropolitan Opera House of New York, replied that there were both free
and paying pupils.
The question of fees in all government schools of Music, would involve
an exhaustive research into the ideals behind the founding of each such
school, and into the resources upon which their maintenance depends.
Undoubtedly, the highest ideal in such undertakings is that which
animates the Belgian system, and insures its wonderful success. A close
study of Belgium’s management of her conservatories would be surely
illuminating and inspiring to our own country. This little country is
to be congratulated, as the holder of the musical laurels of both the
past and the present in national support of native talent. Her efforts
are signs of the live musical genius of Belgium, and show great state
care of musical culture. Belgium has always been a leader in musical
culture, and the world owes her a debt of gratitude for her products
of genius, only to be fully appreciated when the present abnormal
stage shall have passed, and the saner musical school be once more
established.
America owes much of her rarest pleasure to the varied genius presented
in Russian Music. May the lesson of Russia’s governmental care for
her subjects’ need of Music not be lost, in the prosperity of our too
commercialized United States of America.
Were it not for the excellent total of the Bavarian expenditures for
public education in Music, Germany as a whole would present a very
poor figure, for Saxony stands low, and the Prussian statistics were
“unavailable.”[42] Saxony, with the wonderful musical output, which
so delights the musical world is evidently in the hands of private
business, in which governmental protection and state cultivation
of Saxon talent as yet play but a small role. This is surprising,
considering the examples around Saxony, but her resources and history
must be taken into account in the judgment of her generosity.
Norway’s population is scarcely equal in number to that of one of
our medium sized American cities; hence her figures represent a true
love and care for Music, and the products of her musical genius fully
justify the support accorded. She holds her own in musical protection.
Denmark has enriched our American life with the strong free blood of
the North, and her Music, with its sweet sadness, has left its impress
upon American musical culture.
The Music-loving, and Music-needing Austrians will find the reason
of their care of national rhythm in the sorrows of their history,
for no other countries have suffered from the double tyranny of war
and religion as have Austria and Hungary, whose emotions have been
the harp upon which other powers have played continuously. Austria’s
position has not seemed sufficiently stable in history to include it
as a leading power separate from German influence, and though it is so
closely allied to Italy in temperament, its language and customs are
German and its recent history is closely analogous to that of Germany.
Yet Austria’s government is devoted to the musical interests of its
gifted subjects. This musical race has produced some of the noblest
talent, for her past sorrows and responsive temperament _needed_ Music
in a marked degree. Austria, standing so high among the large states
in musical culture, is to be congratulated for her brilliant example.
Austria’s figures as they stand, and without taking into consideration
the size of her population, would have placed her in the lead.
Swedish musical talent had taught us to expect much from Sweden, and
we are justified in this faith. The showing made by Sweden in a graph
of State care of musical culture, will find its cause likewise in its
history, for Sweden’s emotions have not been left to harden for lack
of use, and her acute sufferings have been manifested in a fineness
of musical talent, and in a love for the noble in Music, equal to the
progressiveness of her national mind. In comparative peace for 90
years, soothed by her “rhythm-giving” Music, who shall determine the
result of that noble tranquillity, which has been aided by her parental
care of the musical needs of her people? Sweden sets a splendid
example for the United States, since despite a comparative lack of
wealth, cold climate and seeming cheerlessness of environment, she
nevertheless nourishes the lovely flower of national Music. This shows
a progressiveness and care doubly commendable, when one considers
in addition to the above mentioned fact, the smallness of both her
population and her resources as compared with other countries.
The work of the Conservatory of Quito, Republic of Equador, deserves
high praise for the completeness of its outfit and evident success.
It is refreshing indeed to feel that Music holds so large a share of
public attention in this brave little Republic of the south. The study
of her musical statistics in Appendix C suggests very strongly that the
Latin races may have found in their Music, an antidote for the chilling
commercialism of modern civilization.
Holland, from whom we expected little in governmental support of Music,
presents a very good standing. We Americans, who are proud that Dutch
blood flows in our veins, could not do better than to take this small
nation as an example in national duty. She shows a praise-worthy care
for national musical culture. It is with pride in the showing made by
this distinguished little state that we call attention to her national
culture of music.
Hungary deserves high praise for the care of her musical talent as
represented in her statistics. Hungarian composition has ever possessed
a special charm for Americans. Much may be expected of a nation which
so cares for the musical need of its humblest members as to support
a symphony orchestra for the purpose of giving concerts for young
workmen in provincial towns, and for the propagation of artistic music
and culture.
FOOTNOTES:
[41] The communication will be found in Appendix E.
[42] See page 127.
APPENDIX E.
COMMUNICATIONS.
These letters are presented in condensed form for convenience.
January 2, 1914.
Tuition for strangers in European conservatories is two hundred francs.
Entrance is dependent upon the proved musical ability, before an
examination committee, of the student to do serious work, since the
number of students in each class is limited to ten. Native students pay
only five francs.
OVID MUSIN.
* * * * *
“The French and Belgian National and Royal Conservatories are not
only supported, but were founded and are managed by their governments
under their National and Royal Commissioners for the cultivation of
the Art of Music, _for the Art’s sake_. Instruction is without cost
to natives, but foreigners are taxed two hundred francs per year.
This money goes to the government, not to the professors.... The only
conservatory in France which is supported by the government is the
“Conservatoire national” of Paris. The Royal conservatories of Holland
and Belgium are unique, and entirely different in scheme from those
in any other country.... The difference between the government music
schools of France and Belgium lies in the fact that the remuneration
of the Director, professors and other officers is sufficient in the
case of Belgium to enable these ‘functionaries’ of the government to
devote their time exclusively to their office. In fact, the professors
are on the same plane as those of the Universities, whereas in France
the remuneration is quite small, and the professors of this National
Conservatory do not rely upon their salaries in order to live, as
in Belgium, and for that reason the artistic results of the Paris
Conservatory cannot be compared to the conservatories of Belgium.”
MRS. OVID MUSIN.
* * * * *
“I believe that at the Conservatory of Milan there are two classes
of pupils. One is admitted to the courses in a fixed number, free of
charge, the other by payment.”
GATTI-CASAZZA,
_Director of the Metropolitan Opera House
of New York_.
AUSTRIA.
Vienna, December 13, 1912.
Enclosed please find the governmental report and statistics for 1913
showing Austria’s appropriation for music.
WILLIAM BOPP,
_Director of the Imperial and Royal
Academy of Music and Plastic Arts_.
* * * * *
_Crowns_
State Conservatories, annually 699,026
Subventions to private musical schools 332,208
Subventions to orchestra, chorus, and other musical
societies 135,850
Prizes for Composers 7,000
For other musicians 17,000
State competitions for composers 3,000
Other expenses for music 114,000
Music Instruction in Public Schools 302,000
Singing Instruction in the Public Schools 120,000
Extraordinary expenses in the years 1911-1913 for
the new building of the Royal and Imperial
Academy of Music 2,000,000
----------
Total 3,730,084
BAVARIA.
Munich, April 21st, 1913.
ROYAL MINISTER OF STATE,
INTERIOR AND
EDUCATION IN BAVARIA.
_Concerning Music Expenditures in Bavaria._
In Bavaria there are two Music Institutions which are directed and
supported by the State. So far their income is not sufficient to cover
expenses. These institutions are the Royal Academy of Music In Munich
and the Royal Conservatory of Music in Wuerzburg.
The contribution of the State for the year’s budgets 1912-1913 is,
yearly:
_Marks_
For the Royal Academy of Music in Munich 67,370
For the Royal Conservatory in Wuerzburg 72,660
The expenditures for Music Instruction in Schools of the State are
yearly:
For the Humanistic Gymnasiums and Real Gymnasiums 157,000
For the Progymnasiums, Latin Schools, High Real
Schools and Real Schools 120,000
For the Teacher Institutes (for both sexes) 286,000
----------
703,030
The State does not contribute any sum for expenditures in the Royal
Theatres in Munich.
Also there is no endowment from the state for scholarships. There are
special private endowments for this purpose.
STEINER.
BELGIUM.
Brussells, February 4th, 1913.
MINISTRY OF ARTS AND SCIENCES.
FINE ARTS OFFICE. SECTION NO. 31042.
The four Conservatories are State Institutions and the funds are
contributed from the State, the Province and the cities.
The subvention from the State is as follows:
_Francs_
Conservatorium in Bruxelles 190,500
” ” Liege 104,835
” ” Gand 66,750
” ” Anvers 65,190
Annual subvention for Music schools 130,000
Annual subvention for symphonic and choral organizations 28,800
Subventions to gifted composers, singers, players
(subject to change) last year 20,000
(Concours de Rome) Annual scholarship award 4,000
Bureau of Studies 14,200
Subvention to composers who represent their Opera
in a Belgium Theatre, annually 6,000
Subvention for the publication of old Belgian composers,
annually 11,000
----------
Total of annual State subvention 641,275
M. PHILLIS.
DENMARK.
CONSULATE OF DENMARK.
8-10 Bridge St.
JNR. A.F. & I. 9/13.
New York, May 8, 1913.[43]
My Dear Sir:--
In further reference to your letter of March 19, I beg to inform you
that the sum of 10,000 Kroner has been granted to the Royal Music
Conservatory and of 1,000 Kroner to the so-called “Palace Concerts,”
besides this, various small amounts have been given to singers and
musicians to enable them to gain further experience abroad.
Hoping that this information will be of asistance, I am,
Yours very truly,
J. CLAN,
_Consul-General_.
ENGLAND.
Telegrammes:--
_Renseigne, London._
BOARD OF EDUCATION.
WHITEHALL, LONDON, S. W.
December 24th, 1912.
No part of the grant paid by the Board of Education to schools, or
other educational institutions where music is taught is ear-marked for
the instruction of music.
An annual grant of £500 each is made by the State to the Royal Academy
of Music and the Royal College of Music. A similar grant of £300 per
annum is made to the Royal Irish Academy of Music.
The Army Estimates for the financial year 1912-1913 include sums of
£21,700 in aid of band expenses in the Regular Army and £3,300 in aid
of the Army School of Music. Singing and music are taught in some
establishments for military education, but the expenditures in these
subjects can not be separated from the rest of the expenditures.
There is no State subvention of opera.
Yours faithfully,
A. W. TWENLYMAN.
This presents English musical expenditures as follows:
Annual Grants by State to:--
_Pounds_
Royal Academy of Music 500
Royal College of Music 500
Irish Academy of Music 300
Army Band expenses in Regular Army 21,700
Schools of Music 3,300
------
Total 26,300
EQUADOR.
August 31st, 1913.
The National Conservatory of Music was founded April 26th, 1900, by
Executive-Judicial Decree.
_Initial Government Subventions._
1900 _Sucres_
Installation Funds 2,000.00
Salaries 12,000.00
Musical Instruments and Music 3,510.30
1903-5.
Musical Instruments and Music 35,000.00
Maintenance 58,780.00
_Annual Government Subventions since 1905._
_Sucres_
1906 23,000
1907 23,000
1908 22,000
1909 25,380
1910 27,540
1911 31,500
1912 28,500
1913 28,500
The first year’s class, 1900, numbered ninety-three men and thirty-one
women. The class of 1913, included two hundred and twenty-six men and
two hundred and thirteen women.
THE DIRECTORS,
_National Conservatory of Music_,
Quito, Equador.
FRANCE.
February 9, 1913.
Here are all the official statistics--obtained this very morning.
I. PHILIPP,
_Professor, Paris Conservatory_.
_Francs_
Music Inspectors, annually 14,200
Travelling expenses 3,000
French Academy in Rome, one-fifth of total 29,195
National Conservatory: Professors 197,300
Material 41,350
Indemnities 41,223
Branch Institutes 156,500
National Theatres, Subventions 1,225,000
Music Library of the Opera House 6,000
Popular Concerts 133,500
Subventions to Musical Societies 7,100
Palace of the Trocadero, for the Music Hall 13,000
Subventions to musicians 103,750
----------
Total annually 1,971,118
HOLLAND.
MINISTRY OF THE INTERIOR, NO. 733.
Afdeeling K. W. Ministerie Van
Binnenlandsche Zaken Gravenhage,
March 19, 1913.
_Florins_
1. Subsidizing of Conservatories 27,000
2. Subsidies for poor, young, gifted musicians of both
sexes, as help in their studies 5,000
3. For military bands 186,000
TH. HEEMSKERK,
_Minister of the Interior and
Secretary-General of Holland_.
NORWAY.
Christiania, Dec. 15, 1912.
Our theatres have no governmental subsidy. Music in the public schools
is a local not a federal matter.
We have no conservatories of the usual European type but there are
smaller music schools and schools for organists which are in part
subventioned by the State.
What the State spends for purposes of music can be described as follows:
_Crowns_
Military Music annually 160,000
Subvention to composers 5,200
Subvention to other musicians 6,000
Music schools 4,500
---------
Total, annually 175,700
Most respectfully,
OLE OLESON,
_Army Inspector of Music_.
ITALY.
Rome, February 14, 1913.
MINISTRY OF INSTRUCTION.
GENERAL OFFICE
OF THE DIRECTOR
OF ANTIQUITIES & FINE ARTS.
Posiz. 21 aff. gen.
N. di.
PROT. 339. SUBJECT: STATISTICAL INQUIRY.
The Italian Government appropriates 440,500 Lire for professional
salaries and 146,400 Lire for administration expenses in connection
with the five national conservatories of music among which the former
amount is apportioned as follows:
_Lire_
Milan Conservatory of Music 102,000
Naples ” ” ” 107,000
Palermo ” ” ” 80,000
Parma ” ” ” 71,500
Florence Musical Institute 80,000
There is an additional appropriation approximately 30,000 Lire for
extraordinary or temporary compensation to the personnel of these
various schools.
Instruments, etc. 131,440
Annual Government Subvention to the City Conservatory
of Music at Rome 101,000
Annual subvention to pupils 2,000
(LUIGI) CREDARO,
_Minister of Public Instruction_.
PRUSSIA.
AMERICAN CONSULATE GENERAL,
BERLIN, GERMANY.
March 10, 1913.
I acknowledge receipt of your letter of February 9, 1913, relative to
expenditures of the Prussian Government for the benefit of musical art.
I am informed by the Prussian Statistical Bureau that no definite
figures are available as to expenditures in this branch of education.
The Prussian Minister of Education has also been unable to inform me of
the amount utilized in this particular branch. He adds that the amount
so expended varies from year to year.
Aside from the Prussian Government various municipalities within the
Kingdom occasionally make money grants for the encouragement of musical
students. Last year, for example, the City of Berlin voted Marks 60,000
($14,280.) in order that the Philharmonic Orchestra might be retained
in the city during the summer months instead of visiting sea shore and
other resorts. In consideration of this subsidy, the orchestra played
popular concerts at certain large halls at a nominal rate of admission.
The German Emperor in his private capacity is a liberal contributor
to musical art. He makes money grants annually for the support of the
Royal Opera in Berlin, the amount varying with each year’s needs. The
amount of this contribution is not made public.
The foregoing is the most definite information obtainable on this
subject. I hope it may be of some service to you.
Very respectfully yours,
M. THACKARA,
_American Consul General_.
HUNGARY.
The following list of governmental institutions for musical culture
in Hungary were kindly submitted by Dr. Paul Majouszky, Chief of the
Fine-Art Section, and Naray-Szabó, State Secretary.
_Crowns_
The Musical Academy of Budapest receives a yearly
sum of (from Budget of 1913) 385,233
School Fees amount to 54,440
Yearly subventions to Music Schools maintained by
provincial towns and associations 56,000
Assistance to musicians, especially to composers for
studies in foreign countries and for publishing
musical compositions 8,000
For general musical aims, orchestras, concert subventions
of musical works 122,000
For maintenance of Philharmonic Society formed by
members of the Royal Hungarian Opera, and
the Symphonic Orchestra founded by the State
in order to give concerts for the young workmen
in provincial towns 120,000
For the maintenance of the Royal Opera Orchestra
and the payment of its Director 343,500
For the Choral Society of the Budapest Royal Hungarian
University 700
For the Choral Society of the Joseph Polytechnical
High School 1,000
And for its Orchestra 1,500
Toward salaries of Music Teachers in schools 88,100
For Military Music Bands 76,000
-----------
1,202,033
RUSSIA.
IMPERIAL RUSSIAN EMBASSY.
WASHINGTON, D. C.
Washington, May 28, 1913.
No. 193.
The exact sum spent annually in subventions to music by the Imperial
Ministry of the Interior is 139,900 Roubles per annum.
ALEXANDER LYSSAKOVSKY.
_First Secretary of the Embassy._
SAXONY.
Dresden, April 8th, 1913.
Königlich-Sächsisches
Ministerium des Innern.
No. 627 III. F.
There are no State Conservatories or State Schools for musical
education in Saxony.
The institutions for musical education under control of the ministerial
department are various private undertakings.
For artistic development in music the undersigned Ministry allows 5,000
marks a year. This support is for part or whole tuition for unusually
gifted and studious men and women students who belong in Saxony.
(Graf) VITZTHUM VON ECKSTAEDT,
_Royal Minister of the Interior, Saxony_.
SWEDEN.
Royal Conservatory of Music.
Stockholm, January 4th, 1913.
The yearly subventions of the Swedish Government for music according to
the latest available sources:
_Crowns_
Annual subvention from the State for the Royal
Academy of Music and the Royal Conservatory 85,649.67
Subvention to the Royal Opera House 60,000.00
Subventions to Swedish Composers 15,000.00
Musical Instruction in public schools 124,367.50
Military orchestras 1,027,424.10
Two orchestras 28,000.00
------------
Total of annual subvention 1,340,441.27
BR. BECKMAN.
UNITED STATES.
DEPARTMENT OF THE INTERIOR, BUREAU OF EDUCATION,
Washington, D. C., March 5, 1913.
1. The American government does not make any appropriation whatsoever
for the instruction of pupils in public conservatories.
2. So far as known to this office, none of the states contribute sums
for the same purpose.
3. The American government does not make any subvention for grand
opera. In so far as this Bureau has been able to obtain information, no
such subvention is made by any state.
4. So far as known to this Bureau, there is no subvention for orchestra
organizations or choral societies.
5. So far as known to this Bureau there are no prizes granted by the
State for musical achievements to composers, singers or players.
6. There is no endowment by the federal government to enable young
gifted musicians to complete their musical education in America or
abroad.
I may say that instruction in music is given in some of the Indian
schools maintained by the federal government and such schools also
have musical organizations. No specific appropriation for instruction
in music, however, is made by the federal government. This statement
applies also to state-aided institutions.
Respectfully,
T. A. KALBACH,
_Chief Clerk_.
HUNGARY.
ROYAL HUNGARIAN MINISTRY
OF PUBLIC WORSHIP AND EDUCATION
BUDAPEST
N. 13577
TRANSLATION.
I have the honour to give you the information you asked in your letter
from the 11th January, 1913. There is only one musical school, a
high-school, of the state in Hungary: the Music Academy in Budapest.
The budget of the present year provides the sum of 385.233 crowns for
the maintenance of that institute. After deducting the school fees
of 54.440 cr. the state has to spend yearly 333.793 cr. The state
gives also to the music schools maintained by provincial towns and
associations a yearly subvention of 56.000 cr. that is increasing
from year to year. To the purpose of assisting musicians, especially
composers to make studies in foreign countries, and of publishing
musical compositions and a collection of popular songs, the budget
provides 8,000 cr. For general musical aims, (orchestras, concerts,
subventions of musical works, etc.) 122.000 cr. are destined, specially
120.000 cr. to the maintenance of the philharmonic society formed by
members of the Royal Hung. Opera and the Symphony Orchestra founded
by the state in order to give concerts for the young workmen, etc. in
provincial towns and to the propagation of artistic music and culture.
The maintenance of the Royal Opera Orchestra and the payment of its
dirigent require 343.500 cr. The capital Budapest maintains a course
of music, and number of provincial towns maintain music schools and
orchestras without any assistance of the state. As for the costs of
military bands I shall have the honour to give you subsequently the
necessary information.
Budapest, the 23d March 1913.
For the minister:
(Signed) NARAY-SZABO,
_State Secretary_.
* * * * *
ROYAL HUNGARIAN MINISTRY
OF PUBLIC WORSHIP AND EDUCATION
BUDAPEST
N. 124655
I have the honour to give you the supplementary information I promised,
when answering (N. 13577, 12th April) your letter from the 11th
January. The Hungarian State at present gives an annual subsidy of 700
crowns to the choral society of Budapest Royal Hungarian University,
1000 crowns to the choral society and 1500 to the orchestra of the
Joseph Olytechnical High School. In the middle schools (Colleges and
Real Schools) the musical teaching is not yet perfectly organized, the
fees for the courses are paid by the pupils, the state contributes to
the salaries of music teachers. The annual costs of the said teaching
amount (including a salary of 6400 cr. for the inspector) in girl
schools to 74,500, in medico-pedagogical institutes to 13,600 cr.,
those for the maintenance of military music-bands in the regular army
76,400 crowns.
Budapest, the 24th July, 1913.
By order of the Minister,
(Signed) DR. PAUL MAJOWZKY,
_Chief of the Fine-Art Section_.
FOOTNOTES:
[43] Another letter dated May 13, 1913, adds “9,600 Kroner to the
different concert associations,” bringing Denmark’s annual expenditure
for musical education up to a total of 20,600 Kroner.
APPENDIX F.
BIBLIOGRAPHY.
AMERICAN HISTORY AND ENCYCLOPEDIA OF MUSIC THE.: Irving Square, New
York.
BAILEY, L. H.: Country Life Movement, 1911, MacMillan Co.
BRYCE, JAMES: The American Commonwealth, 1911, MacMillan Co.
BULFINCH, THOMAS: Age of Fables, John D. Morris & Co., No. 122 of
Edition de Luxe.
CAESAR, JULIUS: De Bello Gallico.
CARHART, H. S.: University Physics, Part I, Allan & Bacon, Boston.
DARWIN, CHARLES: Descent of Man, 1909, Appleton & Co., Second Edition.
DEFURSAC, J. ROGUES: Manual of Psychiatry, 1908, John Wiley & Sons, New
York.
DICKINSON, EDWARD: The Study of the History of Music, 1912, Chas.
Scribner’s Sons, New York.
ELLIS, HAVELOCK: Studies in the Psychology of Sex, 1906, F. R. Davis
Co., Philadelphia.
ELLIS AND HORNE: The Story of the Greatest Nations, Niglutsch.
GALTON: Hereditary Genius and English Men of Science.
GIBBINS, H. DE B.: Industry in England, 1907, Charles Scribner’s Sons,
New York.
GIBBONS, ED.: Roman Empire, Hurst & Co., New York.
GIDDINGS: Democracy and Empire, 1912, MacMillan Co.; Principles of
Sociology, 1911, MacMillan Co.; Descriptive and Historical Sociology,
1909, MacMillan Co.; Inductive Sociology, 1909, MacMillan Co.; Elements
of Sociology, 1898, MacMillan Co.; “Sociology,” a lecture published in
1908 by the Columbia Press.
GROTE, GEORGE: Greece, Peter Fenelon Collier & Son, New York.
GUMMERE, FRANCIS B.: Germanic Origins, 1892, Chas. Scribner’s Sons, New
York.
GUMPLOVICZ, LUDWIG: Rassenkampf, 1909, Innsbruck, Wagnersche univ.
buchhadlung.
GURNEY, EDMUND: The Power of Sound, 1880, Smith, Elder & Co., London.
HADDON, A. C.: The Wandering of Peoples.
HARRISON, JANE ELLEN: “Themis.”
HAWEIS, REV. H. R.: Music and Morals, 1876, Harper & Bros., New York.
HAWES, C. H. AND H. B.: Crete, The Forerunner of Greece, 1911, Harper &
Bros.
HELMHOLTZ, HERMANN L. F.: Sensations of Tone, 1912, Longmans, Green &
Co.
HAEKEL, ERNST: Riddle of the Universe, Harper & Bros., N. Y. and London.
HERVEY, ARTHUR: Masters of French Music, 1896, Chas. Scribner’s Sons.
HISTORICAL PUBLISHING CO., THE, London, Philadelphia. The Drama.
HOUGH AND SEDGWICK: The Human Mechanism, Ginn & Co.
HOWELL, WILLIAM H.: Text-Book of Physiology, 1907, V. B. Saunders Co.,
New York.
HUEFFER, FRANCIS: Half a Century of Music in England, 1889, Gebbie & Co.
JANET, PIERRE: The Major Symptoms of Hysteria, 1907, MacMillan Co.
JENCKS AND LAUCK: Immigration Problem, 1912, Funk & Wagnalls Co.
KEANE, A. H.: The World’s Peoples, 1908, G. P. Putnam’s Sons, New York.
KITTO, JOHN: Palestine, Peter Fenelon Collier & Son, New York.
KRAEPELIN, DR. EMIL: Clinical Psychiatry, 2nd Edition, William Wood &
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WALLASCHEK, RICHARD: Primitive Music, 1893, Longmans, Green & Co.
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WEBB, SIDNEY AND BEATRICE: Industrial Democracy, 1911, Longmans, Green
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VITA.
The writer was graduated from New York University in 1900 with the
degree of Bachelor of Laws. She entered Columbia University in 1907
where she received the degrees of Bachelor of Music in 1910, and of
Master of Arts in 1911.
She is the author of “The Advanced School of Vocal Art,” and of various
operatic libretti, and the translator of numerous published poems from
the French, German, Italian and Spanish.
During 1902-1904, she was a contributor from Russia to “The Brooklyn
Daily Eagle,” and, in 1912, to various periodicals. During 1904-1913,
she was one of the four directors of The Powell and Pirani Musical
Institute of Brooklyn, New York.
In 1909, she was one of the incorporators of “The Public Good Society
of New York City,” and was elected its president, which position she
still holds.
In 1912 she was elected honorary member of the American Philharmonic
Society.
INDEX
_A_
Abnormality in Modern Life, 64
Accident at Sea, 45
Adaptation of physical functions, 22
Adequate training, 9
Age of Music, 36
Agitation, 6
Agitation tranquillized, 41
American craving for rhythm, 95
American industry, 8
American talent, 8
American type of music, 93
Animals and musical sound, 27
Appeal of the work, 14
Appreciation in music, 33
Aryan appreciation, 39
Aryan disturbances, 39
Aryan talent, 25
Auber and the social mind, 87
Austria, 114
Awakening in Italy, 67
_B_
Barbarism and its music, 37
Barders of Tacitus, 30
Bavaria, 115
Belgium, 117
Bellini and the social mind, 62
Berlioz and the social mind, 85
Bibliography, 138
Boildieu and the social mind, 86
British emotions, 69
_C_
Canada and its type of Music, 50
Catholicism and the ideo-Motor element, 51
Characterization in music, 30
Characteristic Italian composition, 67
Children and Sound, 29
Chinese use of music, 24
Chopin and the social mind, 85
Church influence and the ballad, 91
Church Choirs, 54
Church pressure in the United States, 94
Civilization and bodily disturbance, 7
Civilization and rhythm disturbances, 37
Classes reached by musical schools, 10
Complexity in social pressure, 93
Complexity in music, 32-36
Complications in Orchestration, 85-87
Concerted volition in music, 34
Concert Tests in Coney Island, 41
Concert Tests in England, 41
Concert Tests in Germany, 41
Concert Tests in Russia, 41
Concert Tests in United States, 41
Concert Tests upon Italian Stone Cutters, 50
Coney Island response to Musical Stimulus, 43
Contrasts in French and German re-actions, 84
_D_
Dancing a need, 65
Darwin’s theory of music, 19
Dawn of musical history, 38
Deafness and carriage motion, 48
Deafness and music, 48
Deafness and the telephone, 48
Decay of the Gens, 36-37
Denmark, 118
Depression and Musical stimulus, 46
Desire for music, 14
Development of ideas, 25
Development of internal integrations, 23
Disturbance expressions, 24
Disturbance of bodily rhythm, 6
Disturbances defined, 32
Dogmatic emotional need, 51
Donizetti and the social mind, 62
_E_
Economic movements, 5
Effects of rhythmic stimulus, 42-46
Emotional forces, 5
Emotional products in music, 56
Emotions and sound, 13
England, 119
English composition, 69
English support of musical culture, 70
Equador, 121
European recognition of Musical need, 10
Evolution Stages (a) Appreciation, 33
(b) Utilization, 33
(c) Characterization, 33
(d) Socialization, 33
Evolution of the Eye, 22
Ethnic music, 36
Excitable natures, 48
Experiments, 43
_F_
Fees, 105
First responses to stimuli, 22
First inter-change of ideas, 22
First rhythmic inventions, 23
Foreign talent, 94
France, 81-122
Franck and the social mind, 89
French intellectualism in music, 56
French opera, 85
French re-actions, 81
_G_
Gens system and emotionalism, 39
Gentile family, 36
German folk spirit, 74
German grand opera, 49
German lieder, 49
Germanic tribal music, 29
Germany, 71
Giddings note, 34
Greek Church type, 50
Gounod and the social mind, 89
Group re-action to music, 41
Group tendency in music, 7
_H_
Haeckel’s note, 21
Heart action and modern stimuli, 29
Heroic opera, 74
Hindus and the musical ideal, 24
Holland, 123
Human liking for like musical motion, 35
Hungary, 129-135
Hylobates syndactylus, 22
Hymnal music, 92
_I_
Ideo emotional groups, 49
Indebtedness for statistics, 16
Individual experiments, 47
Inspiration in Columbia College courses, 17
Intellectual stimuli of tribal life, 27
Italian Ideals, 65
Italian life and papal authority, 62
Italy, 125
_J_
Japan’s use of music, 24
_K_
Knightly ballad taste, 72
_L_
Laws of motion and the body, 58
Laws of need, 42
Lectures with music, 45
Lectures without music, 45
Life preservation and music, 58
Live force in musical vibrations, 26
_M_
Massenet and the social mind, 89
Mascagni and the social mind, 67
Mean rhythm of aggregates, 31
Measurement of musical effects, 26
Mental attitude of 1821, 74
Mendelssohn and the social pressure, 76
Meyerbeer and the social mind, 87
Milder stimuli and musical expression, 80
Mission of music, 13
Music and Motion, 31
Music as a health measure, 55
Music as a national need, 28
Music and national disturbances, 60
Music as an incident force, 59
Music and social control, 16
Music for rhythm maintenance, 31
Music as an industry, 9
Music in Colleges, 10
Music taxation, 11
Music of birds, 27
Music in carriage motion, 48
Musical employment field, 8-94
Musical madness, 89
Musical statistics, 12
Musical tone in railway motions, 48
Musical tone in telephones, 48
Musical tone in wash of waves, 48
Musical tone in winds, 48
Musical valves for American emotionalism, 95
_N_
Napoleon’s influence on music, 83
National control of music, 7
National stimuli, 60
National type of music, 10-55
Nature and music, 19
New combination of tone and nerve, 59
New organs for new stimuli, 37
Normal pulse action, 56
Normalizing effect of music, 48
Northern immigration, 92
Norway, 124
_O_
Ocean Grove mental type, 51
Opera comique under Mehul, 86
Orchestral complexity, 85
_P_
Paleolithic man and percussion, 36
Panic calmed by National songs, 46
Partially deaf re-actions to music, 27
Passion for homogeneity, 36
Peace and Parsifal, 80
Peace and religious agitation, 88
Periodic Motions, 39
Phlegmatic natures, 48
Pioneer life and social pressure, 91
Popular waves of feeling, 6
Primitive man’s rhythmic life, 21
Primitive speech as rhythmic disturber, 23
Proper study of music, 15
Prussia, 127
Public emotionalism, 6
Public school musical instruction, 94
_R_
Rational thinking and Gidding’s definition, 40
Rationalistic group, 52
Rationalistic music, 52
Real elements of music, 22
Rebellious fanaticism, 83
Recent absurdities in musical form, 62
Recent immigration, 93
Realm of musical need, 53
Reflective Sympathy and music, 35
Response of the masses, 5
Registration of rhythm, 39
Religious atmosphere in U. S., 92
Revolutionary character of Tristan 1865, 78
Rise of industrial complications, 92
Rossini and the social mind, 62-86
Russia, 130
Russian audiences, 49
_S_
Saint-Saens and the social mind, 89
Savagery and its music, 37
Saxony, 131
Schumann and the social mind, 49
Science and musical study, 15
Schubert and the social mind, 72
Separation of church and state, 89
Social want, 10
Social welfare, 15
Social mind in France, 82
Sociological terminology in music, 35
Sources of conclusions, 41
Sources of statistics, 74-99
Spencer’s theory of music, 20
Spontini and the Napoleonic regime, 86
State and Municipal expenditure, 10
Strenuous years 1848 to 1860, 65
_T_
Tension in strikes, 46
Tests among revolutionary elements, 54
Tendency toward musical equality, 36
Theory of rhythm, 12
Thesis, 7
Toneurology, 56
Tragedy element in Italian life, 61
Tribal life and rhythmic disturbances, 23
_U_
United States, 91-133
Untalented citizens, 15
Universal craving for music, 53
Utility aspect of music, 33
_V_
Value of New York expenditures, 10
Value of percussion, 23
Value of music with the dance, 64
Verdi and the social mind, 65
Vibratory impulse, 30
Vita, 143
Vocalism extraordinary, 62
Von Weber and the social mind, 74
_W_
Wagner and the social mind, 50
Wallascheks, 20
Waltz, social significance of, 77
War factor in music of tribes, 25
Wave (the) of emotionalism 1861, 92
Western music, 9
Working girl’s tests, 41-54
Working girl’s club, 46
Transcriber’s Notes
Errors in punctuation have been fixed.
Page 19: “there mnst lie” changed to “there must lie”
Page 24: “sub-conscions recognition” changed to “sub-conscious
recognition”
Page 27: “same muscial environment” changed to “musical environment”
Page 39: “held togther” changed to “held together”
Page 46: “the “Marsellaise”” changed to “the “Marseillaise””
Page 58: “pyschology” changed to “psychology” in two locations
Page 73: “Eightenth century” changed to “Eighteenth century”
Page 75: “paino works” changed to “piano works”
Page 87: “musical composiiton” changed to “musical composition”
Page 92: “the agitaiton of” changed to “the agitation of”
Page 94: “thousands of professioanl” changed to “thousands of
professional”
Page 148: “Primitive speach” changed to “Primitive speech” “Sources of
satistics” changed to “Sources of statistics”
Page 150: “life and rhythmis” changed to “life and rhythmic”