Gunn Scholar - Emma Wang

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Music Education in American Boarding Schools

Emma Wang

Gunn Scholar Mrs. Paula Krimsky and Dr. Jennifer Wojcik May 2018

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Gunn Scholar

Ziyuan Wang

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The Gunn Scholar Program

The Gunn Scholar is a senior who has been selected, based on aptitude, interest, and character, to pursue original research into some aspect of the life and legacy of Frederick Gunn (1816-1881) and his wife Abigail and the school which they founded in 1850.

By selecting The Gunn Scholar, the school community recognizes that this student has demonstrated, over the course of her academic years, those qualities of scholarship and character that the Gunns inscribed into the mission of the school. This program represents the concerted thought and planning of the history department. The Gunn Scholar will receive one credit in History. She will do original research in our archives and elsewhere on some aspect of the Gunn legacy.

This year Gunn Scholar, Ziyuan (Emma) Wang is researching the changing emphases of music curricula and performances at The Gunnery throughout its history, with a particular look at how popular culture in society has changed the musical environment.

In the equivalent of one full-time academic course—that is, two short periods and two long periods per week— the Gunn Scholar will: • •

Learn the techniques of original research and transcription, working closely with the archivist and a member of the history faculty Prepare an account of her research o As a published, written document o As a public presentation to The Gunnery community o As a public presentation at the Gunn Museum History Bites Lecture series

To provide a preliminary scholarly context, Wang read over the summer among other things: A History of Music Education in the United States by James A. Keene and The Gunnery 1850-1975, A Documentary History of Private Education in America.

This endowed, year-long project is divided into three, roughly equal, parts: research—writing—public presentation, each intended to occupy a full term.

Jennifer W. Wojcik, Ph.D. History Faculty

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Table of Contents

Title Page

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Author’s Page

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The Gunn Scholar Program

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Acknowledgements

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Introduction

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Chapters I. II. III. IV. V. VI. VII. VIII. IX. X.

European Philosophies Music Education in America The Singing School Early Presence of Music In Private Academies The Origin of Education and Music in Washington Student Performance at The Gunnery Music Programs at The Gunnery Music at Other Boarding Schools Music Facilities Why Music?

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Works Cited

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Appendix A: Annotated Bibliography

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Appendix B: Gunn Scholar Proposal

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Appendix C: History Bite

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Appendix D: Illustrations

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Appendix E: List of Gunnery Plays and Musicals

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Acknowledgements This work is made possible with support from the Gunnery community.

Special thanks to:

Mrs. Paula Krimsky Dr. Jennifer Wojcik Ms. Misa Giroux Mr. Edward Surjan Mr. Christopher Young Mr. Jesse Perkins Mrs. Kristin Richards Ms. Oksana Protenic Mr. Richard Brooks Mrs. Kiersten Marich

And everyone who helped me through this journey!

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Introduction Music education appeared quite early in America. Singing used to be taught from memory rather than from musical texts, resulting in simplified Puritan psalms, poems and hymns used at public worship (“The Ketuvim”). At the time, music was primarily religious. Secular and instrumental music was condemned by the fundamental Puritan beliefs. In response to the growing interests in the psalm singing, the first singing school was established in Colonial New England. The first book of music instruction appeared in Britain’s North America, which trained church singers to accurately read notations. With more standardized note-reading, more complex tunes could be added to psalms. Under England’s influence, musical instruments entered American churches, not without controversy. As educators continued to promote music among students, the seeds of reform were sown. In the eighteenth and nineteenth centuries, emphasis on the practicality of school and methodical teaching led to more concrete and mature texts for instruction across all subjects. The development of the general education system quickly followed. Private schools started to teach music and proposed adding music to the primary curriculum in the early nineteenth century. Schools competed with one another on the scope of music offerings. However, by the twentieth century, many argued that music should develop after a curricula of common school was built and it should not interfere with other studies. Thus, music was not accepted into the common school at the time. Yet the spirit for music education did not die out. Educators made an effort to keep music in the schools, through music appreciation classes or club activities, though not as a part of the core academics. At The Gunnery and many other boarding schools, music programs reflect the broader history of education; in the meantime, different schools established unique experiences due to 7

distinct resources and histories. From the 1850s to the present day, The Gunnery music had derived from church singing to various forms of student performances, with active engagements and diversity in the music programs.

As early as 1883, music was a special feature of Gunnery family life. Gunnery students had frequent opportunities to hear fine music both instrumental and vocal. There were two choral classes, one for the older and the other for younger students. Instruction in sight reading was given using the Damrosch method. The glee club, which takes interested and able members from the senior class, received weekly instruction. On Sunday evenings, gatherings for hymn singing took place. A musical was held at the close of the school year. Vocal music was part of the regular curriculum in the first and second years. Private lessons in vocal, piano, violin, and mandolin were offered (School Catalogue 1883).

With various opportunities to gain musical experience, it is not surprising that, after hours devoted to study hall, “musical brothers and sisters ground out a lively tune upon the piano, and an impromptu dance began” (Gibson 111). William H. Gibson revealed that the school had long possessed a piano, upon which tunes from “five finger exercises to the Fifth Symphony” were played (Gibson 110), though it was later torn apart by a student who wanted to see how it was made. Besides the piano, Mr. Gunn had played the harmonium, or a portable pump organ, at the bonfire on Milford Beach (Point Beautiful), adding musical elements into outdoor activities. As Pen Dragon described the campsite, “The Gunnery village with tents, campfires, music, singing, and dancing is more like a scene in an opera than anything seen in real life” (Gibson 48).

Puritan tune-books appeared in Washington in the early nineteenth century thanks to the Congregational Church, or the Judea Meeting-House. The music sung at the Church imitated the fugue style prevalent in the European music. The Church kept collections of poor compositions--many of them were ignorant of the rules of harmony and discords--and the only musical instrument there was the bassviol, the most commonly used instrument in the New England churches. Clearly these musical works did not receive much appreciation: one of them, “Judgment Anthem,” according to Gibson, “illustrates the 8

savagery of Puritan music in connection with the savagery of Puritan theology most effectively, and we are told that it grated harshly even on the uninstructed Puritan ear� (Gibson 8).

For over a hundred years, music has supplemented academics and enriched leisure life. Instruction on singing and playing instruments has been offered since our founding time. The focus of study might have shifted toward college entrance requirements in the early twentieth century, but additional courses such as Music Appreciation appeared at the turn of the century. Now students can choose from a fairly comprehensive list of music classes to meet diploma requirements in arts. Among the classes are those for serious student musicians, such as AP Music Theory or those for the interested novice. Outside classrooms, music has also been offered as an extracurricular. The Glee Club that used to rehearse weekly and give concerts has been replaced by several musical groups in recent decades, such as bands, Chamber Ensemble, and Troubadours. These groups and any capable musician contribute to the music programs at formal school gatherings. Motivated students seek improvements in skills through private lessons.

Ambitious students can audition for outside-school orchestras or choirs. Many steps have been taken to shape the current music environment, beginning from music at traditional school events to the extensive programs now with an engaging community.

This research explores the general history of music education in American boarding schools and relates the Gunnery’s program to the greater picture and will discuss music as both leisure and academic subject. To begin the discussion, it is important to understand how music education came into public attention in both Europe and America.

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European Philosophies Due to the scientific findings of Copernicus, Galileo, and Kepler, a new philosophy called materialism was born. It emphasized that the universe could be explained in terms of mechanical laws.

Although the concept was treated with suspicion by traditional churchmen, scholars attacked the scholarship of Oxford and the narrow Puritan theology. They did not consider the learnings at school to be education at all and suggested that environment was important as knowledge reached man through senses, and he supported an education with a focus on real life matters. Their philosophies cast a revolution on the school curriculum: the old subjects were questioned and suggestions were made to replace or modify them. Music, with a group of supporters, came into the spotlight.

European education of the eighteenth century had limitations. There was no grading of children according to advancement, and many classes took place in the teacher’s living room. Reading, writing, and religion were taught. Arithmetic was too difficult even for the teacher. An ordinary child ceased education at the age of ten or eleven. The situation was not better at the grammar school, with beggarly remuneration for the teachers. The curriculum was obscure. There were complaints of the Jesuit schools in France as well. Lord Chief Justice Kenyon condemned the grammar schools in England in 1795 as “empty walls without scholars and everything neglected but the receipt of salaries and endowments” (Keene 81).

Jean Jacques Rousseau took a different philosophical view and had a key influence on the revolution of curricular reforms in both Europe and America. Although his Emile, or On Education, was banned by Catholic Paris and Protestant Geneva because of its atheistic treatise, he blended English and French influences and refused to endure the materialist philosophy which reduced human soul to a product of mere sense experience. Through his book, he demonstrated that education should begin with the study of the child, which called people’s attention to a different approach of education. For the first 10

time, children were not regarded as an inferior counterpart of adulthood. Educators realized that the nature of a child was of paramount importance and must be taken into account in any educational program.

Rousseau stressed naturalism in education and laid the foundation for a new curriculum (Keene 83).

As a result of the Enlightenment, theology was generally rejected, and education gradually moved towards science and logical analysis. Centuries of myth and dogma would be swept away. Deism, a new view on the relationship between science and religion, explained God’s existence based on the natural laws of the world rather than on divine revelation. This philosophy widely influenced Colonial America.

Thomas Paine argued in his Age of Reason that only science could reveal the true essence of Christianity, and that man finds religious faith through rational thought. Thomas Jefferson and Benjamin Franklin also shared these thoughts (Keene 83).

Along with the Enlightenment, an influx of new ideas came into America. The Puritan dominance declined. In 1743, Franklin founded the American Philosophical Society which helped develop a deepening interest in education. Prominent leaders in the country became aware of educational deficiencies such as the poorly qualified teachers, inadequate schools, and poor equipment.

One of the most influential figures in educational thought was Heinrich Pestalozzi (1746~1827), a Swiss philosopher. Having committed to social reforms throughout his life, Pestalozzi believed that education was the only means to improve the socioeconomic status of Swiss people. He replaced the strict disciplines and memorization teaching method with one based on love and understanding of the individual child. He believed that the instruction given in schools should help pupils achieve the highest potential of their station in life, and he advocated that students should relate education to life activities.

His philosophy influenced the Boston School Committee as it decided whether to adopt music as a school subject (Michael L. Mark 375) According to Pestalozzi, education should provide training for the innate abilities of the mind, which was best accomplished through exercise. This idea convinced the two prominent music teachers of his time, Michael Traugott Pfeiffer and Hans Georg Nageli, who believed that group singing would 11

promote social unity and religious values (Mark 380). The musicians published a textbook in singing, which represented Pestalozzian theory. The book advanced a new orientation to music instruction. Rote learning was decried and the German chorale was considered inappropriate for children to learn. They suggested the removal of pedantic materials that children would not understand and the replacement of them with children’s music. The main body of the book consisted of detailed drills on rhythm, melody, and dynamics (Keene 84-91).

Although Pestalozzi himself was also a musician, he regarded music as an aid to moral education.

His principles of education focused on the development of morality. In fact, he put morality before religion, as he believed that a child could not understand God until he had the right emotions toward humans (Hash 4). For music in particular, he preferred the simple and untaught grace of melody which speaks to the heart of every human being (Keene 84-91).

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Music Education in America The Pestalozzi methods had far-reaching impact in America. Joseph Nicholas Neef was possibly the first Pestalozzian disciple to come to America. He was acquainted with Pestalozzi and had taught music in Burgdorf (Keene 92). He published the first pedagogical book written in the New World in 1808.

In his musical instruction, Neef focused on tones, pitches, and the duration of notes. He taught students to discriminate between intervals, which might produce agreeable or unpleasant harmony.

Having visited Pestalozzian schools in Germany in 1825, William C. Woodbridge was impressed

by Pestalozzi’s work. He returned to the United States and joined the Society for the Improvement of the Common Schools to organize institutions for the training of teachers and to achieve better facilities for women’s education. To better propagate the reviews and improvement in education, he purchased the American Journal of Education and changed its name to the American Annals of Education and Instruction. Though having little musical background, Woodbridge was convinced that music should have a place in American school curriculum.

Elam Ives Jr. was the first to apply Pestalozzian principles to music teaching in the United States.

He was a church choir director and a singing school master. In 1830, he established the Philadelphia Music Seminary and served as its principle, and in 1836, he announced that he planned to establish a music seminary in New York.

The founder of American music education, Lowell Mason, had also travelled to Switzerland and Germany in 1837 to study Pestalozzian techniques (Hash 2). Mason was born in Medfield, Massachusetts, 1792. His father played several instruments and his grandfather taught at a singing school. With such background, it is not surprising that Mason showed unusual musical gifts at young age. He attended singing schools and taught his first singing school at age fifteen. He also played instruments including the organ, the piano, the flute, the clarinet and many others; at age sixteen, he directed a town band (Jones 2427). Despite his musical interests, Mason did not intend to be a musician. Instead, he planned to be a 13

businessman and moved to Savannah, Georgia where he spent fifteen years. In Savannah, he devoted himself to merchandising and banking, while taking part-time jobs like conducting church choirs or singing schools. In 1827, he moved to Boston and worked at a bank, directed church choirs, and led the Boston Handel and Haydn Society. He made unsuccessful attempts to publish a compilation of sacred music, which included some instrumental compositions of himself and other European masters, before finally being sponsored by the Society and publishing The Boston Handel and Haydn Society Collection of Church Music in 1822 (Jones 24-27). However, he did not allow his name to appear on the collection, because he was afraid that being known as a musician would hurt his standing as a banker. He started teaching music at churches, singing schools, and private schools. By age forty, Mason became a full-time musician. In his forties, his involvements with music were versatile. He was a classroom teacher, a church organist, a choir director, as well as an editor of textbooks, hymnals, and choral music anthologies (Pemberton 49).

At the age of forty-six, Mason taught at Hawes Grammar School without pay to prove that public school children could learn to sing and read music. His experiment successfully helped influence the Boston School Committee to add vocal music into the curriculum in 1838.

Mason emphasized the training of teachers as well. At Boston Academy of Music, he instituted regular training sessions called conventions. The first convention was a ten-day program held in 1834, attended by twelve teachers. The program expanded dramatically, as in 1851, 1200 teachers attended. The meetings spread geographically: Mason and his associates established similar programs in other cities. In 1853, the New York Normal Musical Institute was founded, with Mason being one of the planners and a faculty member. It offered a three-month summer session. The idea that teachers needed proper training inspired the Horace Mann Institutes for Teachers. Specialists in pedagogy and in specific subject areas were brought in to train teachers. At Horace Mann's personal request, Mason taught music at the institute.

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Mason was generous to share his music library. He accumulated books and music for personal or professional use throughout his life. He owned one of the few sizable music libraries in America. After his death, his family donated the 10,300 books and music items to Yale University (Pemberton 50).

What distinguished Lowell Mason from other music educators was his ideal and vision. He believed that music was part of human nature and should be treated seriously as a subject, while envisioning music as the foundation of an enriched cultural environment. He lived to promote his belief that music is "a means of human development of great powers" (Scanlon 25).

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The Singing School Music education in America started in singing schools. Singing schools trained singers in voice production and in reading according to the four-note gamut---mi, fa, sol, la. The singing school usually met in the meeting house. Singers brought their own candles and books, sat in semi-circles around the singing master, and learned the clefs, syllables, keys, note lengths, as well as voice production (Keene 20). The earliest documented evidence of a singing school is found in 1710 in Westover, Virginia, where local residents learned psalms under a singing master’s guidance. In the 1720s, many singing-schools were established in Massachusetts (“Singing School”). With the establishments of singing schools, an abundant amount of tunebooks were produced in America, accompanied by an indigenous school of composing style which was based on British model but had distinctively incorporated American tunes (Britton 24). Musical educators were demanded for the study of tunebooks, therefore outlining the earliest system of musical instruction from which the present system had evolved. One of the best-known singing masters, Moses Cheney, described his experience at a singing school.

And it came to pass when I was about twelve years of age, that a singing school was got up about two miles from my father’s house. In much fear and trembling, I went down with the rest of the boys in our town. I was told on the way to the first school that the master would try every voice alone to see if it was good. The thought of having my voice tried in that way, by a singing-master too, brought a heavy damp on my spirits. I said nothing but traveled on to the place to see what a singing school might be.

When we came to the house, quite a number of young ladies and gentlemen had come and were coming to the school. This was the first school which I attended of any kind, with very little exception. I did not pay much attention to the scholars, but I watched the master closely. We were soon paraded all around the room, standing up to the boards supported by old fashioned kitchen chairs. I being the youngest of the company managed to get the lowest seat, hoping thereby to be the last to have my voice tried. The master took his place inside the circle, took out of his pocket a paper manuscript, with rules and tunes all written with pen and ink, read to use the rules, and then said we must attend to the rising and falling of the notes (Keene 23).

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Cheney’s musical experience was typical of the day. He was born in 1776 in Massachusetts. His voice was described as “pure tenor, and whether you heard him sing or preach, you could but feel that he possessed great vitality, and capability of most protracted vocal effort” (Keene 22). At Cheney’s school, students received theoretical introductions to the tune books, which required memorization of the keys, staff, and note values before they began to sing. His school used manuscript tune books which were copybooks filled with blank pages for students to write certain tunes they needed to learn (Keene 24). To make progress, students had to attend several singing schools, as did Cheney (Keene 29).

A rich history of singing schools is found in Woodstock, Vermont. One of the earliest singers to come to the town was Elisha West (1756-1832), who was considered a fine teacher and a composer. The townspeople regarded good singing highly and as an indispensable part of the church service, therefore employing him to be the singing teacher who was to “regulate harmony in the religious societies in this town...and to encourage youth and others who [wish] to gain knowledge in the pleasing Art of Psalm singing.” West opened different singing schools in Woodstock, which were attended by most of the townspeople. Young pupils met in the afternoon while the evenings were reserved for the older ones. His students recalled their impressions of the singing master.

As a teacher, West was a careful drill-master. He gave most patient attention to the rudiments, and those who still remember his instructions speak of him in this particular with high respect. Above all things there was in his school the most rigid observance of the laws of time, and even certain bad habits of his were not allowed to interfere with the order and discipline he considered needful to have the school a success. (Keene 30) Singing schools made an impact far beyond their immediate purposes. They promoted the musical professions, encouraged publications of tunebooks in the eighteenth and nineteenth centuries, and, with the market for publication, encouraged American composers---many prolific psalmists of the 18th century worked at the singing schools (“Singing School”).

The nineteenth century saw a decline in singing schools, primarily in the northeast. Vocal music was included as part of the public school’s curriculum in Boston in 1838, and singing schools gradually 17

disappeared. However singing schools flourished in the South, where singing masters held conventions for teachers to sing together and to demonstrate the accomplishment of their classes. In the late nineteenth century, singing schools were exclusive to the South and to specific ethnic or religious groups (“Singing School”).

In the twentieth century, singing schools mainly survived in the South. Today’s singing schools usually last no more than a week or two, with some offering camp or residential facilities. They fell into three categories. The first are the tunebook schools which teach a single tunebook and have preserved the 18th-century American repertoire and performance practice. The second are denominational schools sponsored by churches. These schools prohibit instrumental music in their worship and train skilled sightreaders for congregational singing. The third are gospel singing schools sponsored by local singing conventions or by publishing companies (“Singing School”). The major difference between gospel singing schools and others is the use of shape notes instead of the standard round notes, which corresponded with the pitches on the musical scale. The adoption of shape notes traced back to the 11thcentury Italian monk, Guido d’Arezzo, who assigned syllables to create a six-note series. These syllables helped singers to keep track of their place within a melody. In 16th-century England, singers simplified it to a four-syllable system which was introduced to America by early colonists. While in Europe, the system expanded into a seven-syllable system, it did not prevail in America until the 19th century (“Shape-note singing”). In the early 1800s, shape notes were frequently associated with sacred music and singing schools in America.

In recent years, the Brockwell Gospel Music School runs a summer singing school. The two-week tuition fee only costs fifty dollars, yet the demand for participation is high. Even beginning students spend about five hours each day in classrooms. There is intensive morning instruction in music theory. In addition to the seven shape notes, students learn how to direct songs in various time signatures and to recognize different pitches by hearing the notes on a piano. Intermediate and advanced students can take more difficult lessons, such as chords, chromatics, and songwriting, and they return year after year.

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Among them will be the next generation of singing school teachers and singing convention leaders. The excerpt below depicts the more contemporary gospel singing school.

Of course, it wouldn't be singing school without singing. Three times each day--first thing in the morning, before noon, and at the end of the day--everyone in the school gathers in the auditorium to practice what they've learned, singing their parts on songs in the new songbook. Students and teachers turn practice to performance in the traditional closing night program, during which parents and community members are invited to watch the various "specials" performed by voice and instrumental students and participate in congregational songs led by groups of students. If you think you will breeze through school because you've sung the tenor line to "I'll Fly Away" three hundred times, think again. One of the peculiarities of the gospel tradition is its reliance, even insistence, on new songs, and the annual adoption of a new songbook is a time-honored gospel practice, one that dates to the rise of gospel singing conventions in the nineteenth century and the paperback songbook publishers who competed for convention business. It is a point of pride for gospel singers to have the "ability to pick up an unfamiliar piece of music and sight-read it perfectly." "You give me a brand-new song today," explained Orgel Mason. "I look to see what time it's written in. And, if it's shape notes, I get my pitch ... even without instruments 'cause I've sung 'em so much on that staff. And then after I get my pitch, I take off from there." (Blevins, 135) “As our early Americans learned to sing primarily for the purpose of singing in church, the singing school and early religious customs cannot easily be separated. Like the church, the singing school was important in the social fabric of the towns and villages.� (Keene 21) For hundreds of years, American singing schools have welcome students of all ages, devoting to the teaching of rudiments in singing and note reading with a focus on sacred music. Although people’s musical taste dramatically in the past century, music education always finds its root in singing schools.

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Early Presence of Music In Private Academies Between 1800 and 1850, America saw a sharp increase in the number of private secondary schools. There were 102 academies in 1800; fifty years later, the number rose to 6083. Among them, 1907 were in New England. These private schools differed from public schools in many ways. They were often founded in rural areas and supported by philanthropic endowments, tuition fees, and partly by limited state funds. The curricula at the academies varied but catered to meet a new middle class that sought diversified education. As schools competed with one another in the scope of course offerings, music became part of their advertisement.

Music instruction existed in some of the earliest private institutions such as Phillips Academy. On October 4, 1780, in “An Act to Incorporate an Academy in the Town of Andover”, music was listed among academic subjects.

That there be and hereby is established in the town of Andover, and County of Essex, and Academy, by the name of Phillips Academy, for the purpose of promoting true piety and virtue, and for the education of youth, in the English, Latin, and Greek languages, together with Writing, Arithmetic, Music and the art of Speaking; also practical Geometry, Logic, and Geography, and such other of the liberal Arts and Sciences, or Languages, as opportunity hereafter permits, and as the Trustees, hereinafter provided, shall direct (Gordon 471).

In 1803, the trustees of the Freyburg Academy in Maine advised music, both instrumental and vocal, to be attended by talented and interested students. They approved the purchase of two flutes and two violins for the students (Marr, 220). At private girls’ schools, music was highly valued. The Young Ladies Academy of Philadelphia founded in 1786 taught English, writing, bookkeeping, geography, vocal music, dancing, history, travel accounts, poetry, essays, and the Christian religion. The trustees of the institution believed that young ladies were well suited for vocal music, since it would not only prepare her to join public worship, but also enable them to “soothe the care of domestic life” (Rush 146). Later in 20

1797, the school approved the study of instrumental music. The Essex Academy in Vermont was no exception. The school’s 1870 catalog presented a structured performing arts curriculum. Specialized music teachers were employed, and students were required to master each difficulty level before they could proceed. The catalog also included detailed descriptions of vocal and piano program, as specific musical exercises were designated (Keene 159-160).

Although music had rarely been considered as one of the core subjects throughout American education history, boarding schools generally treated music with high respect. Elaborate arts offerings helped attract students, and when there was no financial exigency, schools were frequently willing to promote their music programs. While there were conservatories to serve select student musicians, most boarding schools required arts credits which could be completed by taking music. Plus, boarding schools stressed the quality of teachers and would hire specialized faculty to meet the students’ needs. They also opened up the options for both sacred and secular music. Unlike the singing school or music conservatories, boarding schools music was more dynamic and tolerant of genres and styles, creating a chance for the youth to explore the music world without taking away academic emphasis.

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The Origin of Education and Music in Washington Historically, education was primarily connected to religion. In the early days, education in Washington was far simpler than at present. It began with the Horn Book, a small board having a handle and a leaflet pasted upon it printed with the Alphabet, the Lord’s Prayer and the Ten Commandments. In 1647, a Massachusetts law established a public school “to thwart the old deluder, Satan”, and Connecticut soon followed this example. The first Sabbath-school (schools that emphasized song service and Bible study lessons) in Connecticut was established in 1781 when the elders gathered children on the Green and taught them to recite Catechism.

Indeed, some of the earliest schools in town were built under the Church’s influence. In the 18th century, members of the Ecclesiastical Society and the church were responsible for the schools of the community. They believed that education would foster men of learning as their ministers, and they also desired the rudiments of education for all members of the Washington community. They envisioned an educational system that began with the rural school, then sent students to the grammar school and finally made it possible for the best students to have a college education. Next to the Congregational Church they established the school house. Ministers and members of the Church took active parts in the School Society of Washington and conducted activities to fund the school. More buildings devoted to educational purposes were built, with one erected opposite the Gunn Memorial Library in 1825 (see Appendix C).

Washingtonians soon grew unsatisfied with the elementary school house and planned to build the Academy to accommodate advanced school. In 1818, a committee obtained permission from the Ecclesiastical Society of the Congregational Church to build an Academy on the Green the southeast of the Church. A singing school was held at the Academy there, conducted by Mr. Earl Buckingham, succeeded by Albert Skilton and Henry Bradley (Wersebe 7).

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The Academy also served as a lyceum for town meetings, for prayer meetings, and as a theater.

Many ambitious plays, including Julius Caesar and Uncle Tom’s Cabin, were produced in the Academy, fostered by Frederick Gunn and William Watson Andrews, and it was once called the “Cradle of the Drama.” A library was built by Mr. Gunn, starting off with a small collection of books in one cupboard and eventually transforming to an extensive library. The Academy was later replaced by the present Congregational Parish House on the Green (see Appendix C).

Mrs. Abigail Brinsmade Gunn recalled attending school in the years around 1826. In 1857, Mary G. Brinsmade wrote that a small one-storied school house stood on the Green at the top of the hill, not far from the present location of the Parish House. She also gave some detailed descriptions of the interior of the building: A door in the middle of the east side opened into a square room which had windows on three sides and a low wood stove in the middle. On the right side of the entrance on a raised platform were the teacher’s desk and chair, and on the table was the large bell to call the scholars to school. The desks were of unpainted wood with a shelf beneath. School opened at 9 o’clock with the reading of a passage of the Scripture, each scholar reading a verse in turn and the teacher offered a short prayer. There was a brief recess in the morning and an hour at noon and the school closed at four in the afternoon. (Wersebe 2) In the fall of 1839, Mr. Gunn received the permission of the trustees to open a school in the vacant Academy on the Green. The school immediately became a success. Mr. Gunn’s philosophy of education rooted in the development of character rather than pure intellect pursuit. In 1877, Mr. Gunn gave a statement of his views to the State Teachers’ Association in Hartford in which he stressed the rights of boys to have fun and to enjoy leisure time: “I am not ashamed to have been a boy among boys...We provide schools for their intellectual training but what school has fitly provided for the amusement of its pupils? Boys have an inalienable right to their fun. I charge you, young teachers, let the boys have their fun and share it with them. How much of healthy discipline of mind and body it may bring!” (Gibson 201-2) His educational belief allowed students to explore various interests and hobbies including the arts.

Deeply drawn to the nature, Mr. Gunn loved to play his pump organ at the camp site and sing Civil War 23

battle songs with the pupils. Mr. Gunn also took great interest in the Dramatic Association, and he made space at the Church for drama performances. He also allowed students to ring the church bells and to celebrate special occasions. The close ties between the church and the school has been the use of the church building for significant occasions, such as the graduation ceremonies or the unveiling of the Gunn monument which took place on October 12th, 1882. A large number of people crowded into the church on that day. One person present guessed that there might be nearly two thousand people at the service. Dr. Arthur D. Woodruff, a music faculty at The Gunnery, led a quartet from New York in addition to the large choir.

Multiple forefathers of the town have taken an interest in music. Mr. William G. Brinsmade, a younger brother of John, established the Ridge School in 1894 which shared a close association with the Gunnery. He taught classical languages to the Gunnery boys and was a music lover. He was the director of the choir of the Congregational Church and of the Washington Glee Club. Besides Mr. Brinsmade, Mr. and Mrs. Adrian Van Sinderen donated a new organ to the Church. In making this gift, Mr. Van Sinderen hoped that the organ would serve practice purposes for serious musical students, whether they were inhabitants of Washington or pupils of the Gunnery School or Wykeham Rise. He also hoped to attract eminent organists to give recitals upon this instrument in Washington, and such recitals would be open to all music lovers in town.

Both the Church and the masters of The Gunnery had made enormous contributions to introduce music and education to Washington from the beginning. The Church had long been the venue for performances, and music had become an integral part of formal events. This tradition of musical partnership with the Church lasts until the present. In fact, a singing school conducted by Mr. Earl Buckingham used to assemble in the Church. Mr. Buckingham’s enthusiasm for teaching marked improvement in the singing of his young students. On April 2nd, 1884, the public was invited to attend a miniature concert of his class. An adult played the organ, and younger singers sang in quartets. The Lullaby Song by the class was particularly charming and sweet. In the same year, thanks to the 24

construction of the new Gunnery Hall, students found a perfect space for Glee Club meetings and other entertainments. They organized a number of plays and musicals besides attending the singing school.

Another active contributor to the music programs at the school was Arthur D. Woodruff, who maintained a summer home in Washington. He began training the Choral Club in the 1880s, and the town anticipated a concert by the Club every summer. The New York Philharmonic Club was also invited, whose soloists were greatly impressed by the Washington Choral Club’s performance. The program was consisted mostly of classical pieces---Ave Maria by Bach-Gounod, Wiegenlied by Schubert, Albumblatt by Wagner--though several folk tunes were included such as The Miller’s Wooing and Awake! Awake! The Flowers Unfold. The concert proved a huge success, attracting audience from Litchfield, Roxbury, New Milford, and even from greater distances such as New Haven and Bridgeport. Both music teachers and students performed in the concerts, as well as invited professional musicians. Under Mr. Woodruff’s leadership of the Choral Club, the number of singers increased. Music programs continued to expand, offering myriad opportunities for student performances.

Washington reflected the broader landscape of music education in the country. Early interest in music education was closely tied to church music. In fact, the second book to be printed in the United States was a collection of psalms called The Bay Psalms Book. Religious interest would lead to the creation of schools to train skillful choirs and to enhance church services. Later when the common school system developed in the United States, secondary schools began dedicated programs in music, independent of the country’s initial impulses toward religious music. By the 19th century, musical interests were flourishing throughout the country.

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Student Performances at The Gunnery The oldest record of student performances in Washington dates back to 1884 when Mr. Earl Buckingham hosted a concert at his singing school. Mr. Arthur D. Woodruff made many contributions to musical life in Washington at the time. In the last two decades of the nineteenth century, he was actively involved in the Washington Glee Club, conducted the Ladies’ Singing Club, and was even invited to lead the Mendelssohn Glee Club of New York, one of the finest voice groups in the country, to substitute for its original conductor (Stray Shot April 1888). Music programs in the 20th century typically included performances by both students, teachers, and professionals. The repertoire ranged from classical music to folk tunes. The tradition of regular recitals and concerts has been preserved, although today’s programs are more flexible and versatile.

The Minstrel show used to be part of the Gunnery’s regular music program. It would be considered racist and inappropriate in today’s society, but it was a popular American theatrical form in 19th and 20th century, founded on the comic enactment of racial stereotypes, with the white male actors’ faces painted black and their singing and dancing imitating slaves. The show involved an adult as the interlocutor, face painted white, a man in the middle of the line in a minstrel show who questions the end men and acts as leader (Merriam Webster Accessed on March 20), an end man, a man at the end of a line of performers in a minstrel show who engaged in comic repartee with the interlocutor, and the group of singers in a circle. The show often consisted of two parts. In the first part, the performers were arranged in a semicircle with interlocutor in the center and the end men at the ends. The interlocutor wore formal attire while the others were dressed in gaudy clothes. The show opened with a grand entrance of the opening chorus, followed by jokes between the interlocutor and the end men. Ballads, songs, and instrumental numbers, chiefly on the violin and banjo, were interspersed with the jokes in the show. The second part was usually an olio, or medley, of individual performers presenting specialty numbers while the others sang and clapped. Occasionally there was a third part of burlesque, comic opera, or a farce.

Black performers did not participate in minstrel shows until after the American Civil War. Today, 26

minstrel shows have disappeared from professional theaters, but their influence endured among amateur performers in radio, vaudeville, television, as well as motion-picture productions, and they were a feature distinctive in American culture. In 1913, a vaudeville and the Gunnery Minstrel Troupe co-performed at the Washington Club Hall. A Minstrel Show by the Gunnery Dramatic Association in 1915 was also a typical one. The program started with a burlesque called “In Dixie Land”, with a chorus at the end. The second parts seemed to be a medley.

The 1896 Stray Shot holds an account of the minstrel show, describing that “the entertainment was divided into three parts; the first consisted of jokes and songs, the second of musical numbers, and the third was the same as the first” (Stray Shot April 1896).

Besides the minstrel show, several musical events took place on campus since the last century.

The Gunnery Musical was composed of performances by the Mandolin Club, the Glee Club, and individual student musicians. Both the Glee Club and the Mandolin Club usually had more than ten members respectively. The following program was from the musical on June 8, 1907, which well represented musical performances at the time:

Program -- Part 1 1. “Deutschland,” Herbert, by Mandolin Club 2. Campus Song, College Glee, by Glee Club 3. Song, “Petite Tonkinose,” Scotto, by Arthur K. Boardman 4. Waltz, Chopin, by Hamilton Dyckman 5. “Why can’t a Girl be a Soldier,” Halle, by Mandolin Club 6. “Rose Climb up to Her Window.” by Glee Club 7. Song, “A Dream,” Bartlett, by Benjamin S. Stewart Program -- Part 2 1. “Crocodile Isle,” Herbert, by Glee Club 2. Song, “The Gunnery Breakfast Bell,” H.C.Wheaton, by Lowell Mason 27

3. Intermezzo, by Mandolin Club 4. Song, “Look the Other Way,” Norton, by Harry Leroy Felt 5. “Hush, ma Honey, Hush!” Parks, by Glee Club 6. Song, “The Sea is the Place for Me.” by Benjamin S. Stewart 7. “When the Right Little Girl Comes Along,” Goetz, by Mandolin Club Before the Gunnery separated from Wykeham Rise and went co-ed, music programs and performances were in coordination with the women’s school. There were limited music courses at the Gunnery during the 1960s and 1970s, and students had to take them at Wykeham. Mr. Christopher Young recalled performing at the girl’s school in the 1970s. He was a part of the men’s vocal group, which he called a “barbers’ style music group”. It was socially fun to perform at Wykeham. He also played the guitar and the bass with the Wykeham women, and they put together a dance. In his senior year, a musical called Carnival took place in coordination with Wykeham (Christopher Young interview Feb 27).

The music program has expanded at the end of the 20th century, with more elaborated opportunities for student performances. In 1997, a coffee house took place in the Brown Common Room decorated with “candles and dimmed lighting” (Newspaper 1997). This appeared to be an independent event on the Gunnery campus, showing a growing number of musicians. Professional musicians were also invited to perform solos. “Mr. Whitney gave entertaining a try with three instrumental jazz-like songs which he wrote,” and “after Gunnery had its chance at the mike, another professional entertained the students.” (Newspaper Feb 1997).

Today, several student concerts take place each year, including seasonal recitals, concerts, and coffee houses. Performing groups--Rock Band, Jazz Band, Troubadours, and Chamber Ensemble-rehearse during class periods. Faculty often help conduct the class, but they allow the students to take the lead parts in performances. The recital usually happens in winter term. It provides an opportunity for students taking private music lessons to perform and demonstrate their progress. Past performances involved classical music, jazz, movie themes, and vocal music. The Coffee House favors almost exclusively members of the jazz and rock bands but welcomes everyone to sing at the open mike. Higher 28

level performers may appear in the concerts. Under festive lighting and with a lively atmosphere, the Holiday Concert features Christmas songs for the first half, performed by Chamber Ensemble, Troubadours, and individual students, while any style of performance is encouraged for the Spring Concert. The second half of both concerts belongs to the bands, which provide a high-spirited finish. The Highlander Bell Ringers is a newly formed group, with stunning performances at the concerts. The Gunnery Drama Society presents two productions each year, with one being a winter musical. The entire school and the local community are invited to watch the show. Students with little serious musical training can take advantage of the open mike. Driven musicians at the Gunnery may join ensembles in nearby towns. Past students had played in Waterbury Symphony, the New Haven Symphony, and the Norwalk Symphony. Jenna Lee’15 had her debut at Carnegie Hall with the Norwalk Youth Symphony in 2014. Students audition for the competitive regional orchestra every year.

The Gunnery Troubadours present an annual singing tour in December, featuring Christmas songs.

The group walk around Washington Depot, spreading their voices under the beautiful decorations and festival aroma of the town. Students come down to support their peers, while local members can also join.

Other boarding schools share similar traditions.

Regardless of the genres or forms of performances, the Gunnery community has shown great support of the performers. The concerts always attract a full house, with audiences from the school and the local town. The student center is packed during the Coffee House, as students show up to cheer for their friends. The audience is generous in giving a warm applause for each musician during recitals as well. The audience’s support will encourage performers to continue their musical pursuits (Mr. Perkins Interview April 5).

Apart from student performances, boarding schools frequently invite professional musicians or adult performers. The inaugural concert for the Emerson Performing Arts Center in 1996 started with a performance by a violin, saxophone, and piano trio, performed and written by William Chase, a member of the faculty. Henry Church, who attended Hartt School of Music, performed several songs composed by 29

twentieth century musicians. Eileen Aguirre, the New Academic Dean, displayed her wonderful voice and sophisticated changes of tone in her song, “Camilla’s Aria.” She made good eye contact and moved around to interact with the audience. Her husband, Pedro Aguirre, sang “Granada” and “Por el amor de una mujer” with “deep and intriguing” voices. He has performed worldwide, in places such as Paris, Spain, and Mexico. Anne Taffel, a nationally famous pianist, played difficult pieces such as “Wanderer Fantasy” (Newspaper Dec 1996). The adults set up examples for student musician to learn and follow.

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Music Programs at The Gunnery Although music is generally optional in most American high schools, public and private alike, the National Association for Music Education has posted high expectation for music literacy. The committee emphasizes “creating”, “performing”, and “responding” (“Standards”). Students should connect music to themselves and their societies, and the competence in these three areas are essential qualities for a citizen.

The elaborate national standards for music education looks like this: 1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.

3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture. (“National Standards Archives”) Unfortunately, the demanding standards have hardly been achieved by high schoolers, except for those who might aspire to major in music. At a normal boarding school, training for singers and instrumentalists is indeed available to anyone interested, but in order to compose, to improvise, or to understand music theory, students have to take some extra steps themselves. Courses in these areas may exist, yet they generally serve only a small portion of the student body, since students are usually more excited about performing in front of peers. However, boarding schools like the Gunnery maximize musical experience through less rigorous but enriching programs, in understanding that many students participate in music as amateurs rather than as potential professionals.

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The Gunnery’s music offerings have shown a huge expansion since the founding time. From the preliminary private music instruction, a century ago to the riveting course offerings today, the Gunnery has witnessed an increase in student participation in music and consistent support from the community.

One unique feature about our music department is that it was catered to students’ interests. Just ten years ago, a course survey given to Gunnery students showed less interest in music theory; rather, students preferred to learn music as it applied to the instruments. At the time, only 3 to 4 students had joined the jazz and rock bands. They were assigned music theory homework which involved listening and analyzing.

Yet, the workload proved to be a little bit heavy, since most students took music as an elective. To encourage students from all levels to participate, the music program changed the focus to performance and learning by songs. This becomes another unique feature of Gunnery music, as it is very accommodating of students with different goals in music learning. As Mr. Perkins believes, it is important to let students feel inspired to play better music. In giving them tasks based on their levels, student musicians are challenged but not burdened. In the 2017-18 school year, there are 17 musicians in rock band and 13 in jazz, and five in the chamber ensemble. The increase in numbers once again demonstrates the inclusiveness of the program. Serious students are welcome to take private lessons or meet with music faculty individually. Another special feature of the program is the combination of international and local student musicians. While local students growing up in arts community often bring popular songs to campus, international students balance the music scene with classical music (Mr. Perkins Interview April 5).

Retrospection to the beginning of the 20th century, the music program offered limited opportunities. The 1912 School Catalogue shows that lessons were offered in vocal, piano, violin, and mandolin. Although music was required for the lower school, there was no evidence of mandatory musical studies in the upper school. In the 1920s, a six-year course of study was established to meet college requirements. Typical classes included English, Mathematics, Science, Latin, History, and Drawing, without the mentioning of music. Music was probably considered as part of the extracurricular, 32

and private lessons might be arranged at a cost. Despite having no formal music class in the early twentieth century, the Glee Club provided training for concert opportunities in conjunction with the Glee Club of other schools. In 1940, the School Catalogue specifically indicates that The American Council on Education’s Psychological examination and the Iowa Silent Reading test provided ratings that were comparable with the ratings of boys in other private and public schools, therefore standardized measurements called Cooperative Achievement Tests in individual courses took shape. There was no music in course offering, maybe because the focus had shifted to exams. To our delight, the first musicrelated class, Music Appreciation was unveiled in the curricular catalogue in 1942, yet there was no specialized music faculty. The music teacher, William Mercer, would be teaching music, dramatics, and Spanish. It is not until 1957 when a Yale School of Music graduate, Alfred T. Loeffler, appeared in the faculty list. Music has never been a mandatory requirement, although it can be taken to fulfill the arts credit.

In 1978, when the Gunnery became officially co-ed, a questionnaire was given out to students.

The school asked students how important certain areas were in making their decision to attend the Gunnery. Among them, 63% of the boys and 40% of the girls felt that “art, music, drama” area was not that important. The survey also asked students to mark their understanding of the Gunnery’s strengths and weaknesses, and a majority of them marked music as “weak” (Co-Education Report 13). Collectively, these figures represent large numbers and show deficiencies in the school arts program.

In the late twentieth century, the arts department began offering more options in music learning.

Each year’s offerings varied. An elaborate description of the aforementioned Music Appreciation course appeared in the 1980-81 Curriculum Guide. The class would be taught to develop a critical listening ability and lasted only one term. Topics included: recognition of instruments, recognition of classical forms, recognition of contemporary styles, understanding of problems with criticism, and understanding of basic theoretical concepts and historical trends. There was a class called “History of Music”, which aimed to examine the “relevance of theoretical developments and their relationships to changes in forms 33

and styles” as well as the development of contemporary instruments. The class emphasized the understanding of how music had traditionally been the outlet for men’s emotions. Another course called “20th Century Music Listening” offered students the opportunity to listen to and recognize genres, styles, and composers of the 20th century. Various instrumental and vocal groups were founded, serving as the prototypes for the present groups (Curriculum Guide 1988-89). A one-term Music Theory class required 30-40 pages of readings weekly, in addition to written assignments, lectures, discussion sessions, simulations, and field trips. As an introductory class, the following topics would be explored: notation, harmonics, rhythmic principles, counterpoint, tonality, resonance theory, principles of sound physics, the relationship of theory to the creative process (Curriculum Guide 1980-81). In “Fundamentals of Music”, students would develop skills through practical exercises in tonality, modality, harmonic progression, rhythm, and counterpoint. Ear-training exercises developed at the Berklee School of Music were implemented. Students will be given opportunities to prepare and present original compositions illustrating theoretical elements under consideration. The Jazz class emphasized the historical context of the genre, while the “American Music as a Social Mirror--Ragtime to Rock” will examine the prominent periods in the development of popular American music, allowing students to deal with Blues, Chicago Style, and Rock (Curriculum Guide 1980-81). The Gunnery Chorale in the 1980s required auditions. The chorale performed both secular and sacred music, and they competed in the Connecticut All-State and the All-Eastern Conference. This counted as a full-year, credit-conferring class. The Gunn Scotties was a smaller group limited to twelve members. The emphasis is on performance, close harmony and the repertoire is light. These select members performed before parents, alumni, and civic gathering throughout New England, while maintaining the Gunnery Chorale’s performance schedule. The Ensemble encouraged students with previous learnings on instruments to join. Possible ensembles would be woodwinds, strings, and jazz. (Curriculum Guide 1988-89).

21st Century music curriculum largely resembles the past one. Jazz Band, Rock and Blues Band, The Gunnery Troubadours, and Chamber Ensemble all use class period to rehearse. These year-long 34

classes urge students to learn from performing. The Winter Musical remains an after-school co-curricular.

Students taking Private Music Instruction at extra cost are expected to perform in recitals as well, and all levels are welcome. Some less performance-based term electives include Music Technology, World Drumming, Songwriting, Audio Recording, and the History of Rock and Roll. When Mrs. Kristin Richards arrived at the Gunnery as the department chair of performing arts, she directed several bands including Chorale, Chamber Ensemble, Flute Ensemble, and Jazz Band. She taught classes in music theory and audio recording. World Drumming class taught by John Marshall was also popular. Local instructors came to campus for private lessons. The musical production in 2001 was exciting for Mrs. Richards. She assigned students into small groups so that they could find time to rehearse according to their athletic schedule --- some worked on choreography and some practiced vocal with her. Mr. Richards also enlisted the school Jazz Band to serve as the ensemble for the musical, Leader of the Pack. The band consisted of two guitars, a bass guitar, a saxophone, and drums (Mrs. Richards Interview April 9).

Today’s arts scene in most boarding schools can satisfy students’ needs; however, we should not take it for granted. In fact, the Gunnery’s music program would be considered more sophisticated than that of a public school, commented Mr. Richard Brooks. At a public school, it is common to have a faculty in charge of vocal music and another in charge of instrumental music. For vocal music, students are trained when they join the choir. For instrumentalists, the training becomes problematic. The faculty in charge often has to coach individual students to play their parts in the school band, which triggers several difficulties. First, the faculty almost needs to know how to play every instrument, since students may join the band with little previous experience. For example, the teacher might need to instruct flute players with a chart of flute positions, since the teacher him/herself is not a flutist. Second, even though students manage to play the melodies for the performance, they barely learn any real technique. The teacher only has time to prepare them for the show, but no etude or scale is given for practice. The lack of basic skills would impede students from making progress in music studies. Third, students typically learn how to play in a group lesson, so that little individual attention is given. In a group class, it can take 15 35

minutes just to tune every single cello, when the class is only 40 minutes long (Mr. Brooks Interview April 17). Such awkward situation would not be the case at private schools. At The Gunnery, adjunct teachers are hired for music instruction, who have solid background in the specific instruments and will concentrate on building techniques necessary for advanced music pieces. These helpful, one-on-one private lessons take place during the academic day, and students are expected to practice outside class.

Plus, students have the chance to showcase their progress on concerts or recitals.

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Music at Other Boarding Schools Similar to the Gunnery, many boarding schools have attractive music programs. The present music curriculum at Hotchkiss School provides training for both serious musicians aspiring to a performance career and curious students wanting to know more about music. Students can get involved in music with performance courses, general music courses, and non-credit music lessons. Students can join one of the for-credit student ensembles: the Hotchkiss Chorus, the Hotchkiss Orchestra, or the Jazz ensemble, Right Brain Logic. Courses in music literature and theory are open to all students regardless of talent or music experience. Two types of private music instruction are offered. If the student is taking private music lessons for academic credit, no additional cost would incur. Students may receive non-academic private lessons for a fee. Like at The Gunnery, the music curriculum can fulfill arts requirements. (Hotchkiss website accessed April 3) At Taft School, specific courses are offered in both instrumental and vocal music. Electronic Music, classified as an instrumental course, requires no prior music training. Students learn the basic principles of music theory and apply them using the MIDI (Musical Instrument Digital Interface) studio.

Class Piano welcomes students from all levels and emphasizes music reading, hand position, and rudimentary technical skill. An Independent Tutorial in Music allows seniors to work with a member in the music department on a project in which they share common interest. An AP Music Theory class is also in the catalogue. Private Music Instruction is offered with additional fees. Students may study violin, viola, cello, guitar, bass guitar, piano, flute, clarinet, saxophone, percussion, harp, bagpipes. Students may also learn composition and complete an original work for Chamber or Jazz Band to perform.

Although summer is often reserved for sport camps at the Gunnery, some boarding schools do provide summer schools related to music. The Piano Program of Hotchkiss Summer Portal welcomes rising 7th graders and older students to receive an intensive, two-week training with highly accomplished teachers, to perform on a world-class stage, and to attend concerts by guest performers. Through one-onone lessons, group masterclasses, and lectures, students will refine their technique, expand their musical 37

repertoire, and discuss common questions facing young pianists who want to take their craft to the next level. The program will also prepare the repertoire for audition or competition, develop healthy practice routines, and build a portfolio for colleges and conservatories (“Piano Program”).

Despite the fact that different schools host concerts and performances in various ways, we find a shared traditions across many boarding schools. At Hotchkiss School, the service of Christmas readings and choral music resembles that of the Gunnery Troubadour Christmas tour at Washington Depot. The chorus sings a variety of classic a cappella carols as well as contemporary songs from English and American composers. The audience is also invited to join singing. Following tradition, the evening closes with the singing of Silent Night by candlelight. Members from the community are welcome to attend with no admission charge (“58th Annual Festival of Lessons and Carols December 7”).

Larger schools with a more extensive music program would have student orchestra performances.

The Hotchkiss Orchestra has performed challenging works by Sibelius, Tchaikovsky, and Liszt. The jazz ensemble has performed an original composition, On the Up (“Hotchkiss Ensembles Perform December 3). Besides school performances, music faculty members have performed with students overseas in China and South Korea. They have toured Seoul, Shenzhen, Shanghai, Hangzhou, and Hong Kong, delivering individual recitals (“March Concerts in Korea, China, and Hong Kong”). Advanced Hotchkiss students have shown impressive skills and performed at Carnegie Hall. On January 29, 2018, sixteen Hotchkiss students had their debut at Carnegie Hall’s Weill Recital Hall. The visual and performing arts department head said that the Carnegie performance will become an annual tradition for the school. “Just think how many times Leonard Bernstein walked in through this very door,” said clarinetist Matthew Yao’19 as they entered the stage side entrance on the day of performance. For the concert, students performed challenging solo pieces by Chopin, Brahms, Tchaikovsky and others on piano, violin, flute, and cello.

“They’re nervous, of course, but as musicians, we practice for this kind of pressure,” said the piano instructor, Gisele Nacif Witkowski, “I think every student here has made a special effort for this. Carnegie has such a phenomenal history of great performers, and the students take great pride in being on one of 38

the most prestigious and professional stages.” (“How to Get to Carnegie Hall: Teamwork, Teamwork, Teamwork, and Practice, Too.”) At Taft School, students can join the Chamber Orchestra or Jazz Band. The former plays a wide range of genre from classical baroque music to rock, while the later performs classical jazz, brass band music, R & B, funk, bop, and rock and roll. Both groups perform at Taft or the local community approximately 15 times each year. Outside school, some students perform in orchestra pits for musicals on campus and in theaters around the state. Each March, the group participate in a cultural exchange and performance series which has taken Taft musicians to destinations such as Prague, Memphis, New Orleans, Portugal, Vienna, Budapest, and Ceske Budejovice. The choral performing group, Collegium Musicum, rehearses as an advanced performing group. The group performs both at school and away, and has gone on concert tours to San Francisco, China, Spain, France, and Italy. An audition is required to join this select group.

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Music Facilities The Gunnery has always ensured student musicians a rehearsal venue. In 1996, the Drama Barn was upgraded into the Emerson Performing Arts Center, and a new Performing Arts Center is being built in the late 2010s. The current EPAC shelters several practice rooms in the basement. The upper floor hosts the musical and sometimes recitals. Generally, Troubadours, Jazz and Rock Band rehearse in the EPAC, while Chamber Ensemble meets in the music room across the street. There is a piano in the EPAC as well, allowing private music lessons to take place there.

Peer boarding schools show similar capacity. The Taft School possesses several music venues.

The Bingham Auditorium has advanced technical facilities, memory console lighting equipment, and professional sound system. It is one of the school’s earliest gathering places. The Choral Room is an intimate venue “with an air of history”, serving as the rehearsal space for Collegium Musicum (“Performance Spaces and Resources”). Like The Gunnery, the Taft School also has a digital recording studios which allows students to explore various software in the music industry. The Walker Hall makes room for classical concerts, and the Woodward Chapel witnesses many performances by the choral group.

At Taft School, a signature program, Music For a While, engage local members as well as celebrated professionals from the globe to deliver performances. “Our Music for a while series sets Taft apart as a school. Not only does it engage our friends and neighbors in the community, it brings highlyregarded musicians to our campus to perform in extraordinary spaces on exceptional instruments,” says Bruce Fifer, head of the arts department at Taft. Music, in this case, serves as a bonding tie between the school and the local residents. Meanwhile, everyone could enjoy brilliant performances from talented professionals who can inspire young musicians.

The Hotchkiss School offers similar opportunities as well. Guest artists frequently visit the school, giving workshops, masterclasses, and concerts. Completed in 2005, the Esther Eastman Music Center at Hotchkiss houses 12 practice rooms, 8 teachers studios, and 22 pianos in the music department (Hotchkiss website accessed April 1). It also hosts all-school meetings and the Summer Portals concert series, and it 40

draws musicians from all over the globe. They sometimes share the stage with students during performances. Throughout the year, students are encouraged to appreciate a wide variety of musical experiences by attending student and faculty recitals, off-campus concerts, and guest artists concerts. For example, the Hotchkiss Concert Series invited Grammy-nominated conductor and cellist Dmitry Yablonsky, concertmaster violinist Janna Gandelman, and pianist Fabio Witkowsky to perform at the Esther Eastman Music Center. The program included duos and trios by Ravel, Grier, and Piazzolla (“October 20: Chamber Trio Concert Features Jerusalem Symphony Orchestra Players�).

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Why Music?

Earlier in this paper, we have discussed that Pestalozzian principles regarded music as essential to moral education. For hundreds and thousands years of human civilization, music has been believed to promote good virtues and characters in humans. In ancient Greece, music was referred to a combination of poetry, dance, and melody in one unity. It was considered a gift from Muse, the goddess of arts and letters, to human beings, and was strongly associated with ritual, educational, and recreational practices.

In Politics, Aristotle argued that music should not only bring pleasure in leisure time, but also carry a moral message in people and educate listeners to enjoy, love, dislike things correctly. He recognized different ways in which different harmonies might affect the human soul and that people responded to some harmonies with grief and anxiety, to others with mellowness of mind, or with a special degree of moderation and firmness. Rhythms had the similar effects. Some of them produced a sense of stability, others produced movements. Eventually, Aristotle believed that education should take advantage of these power of music in order to guide the youth appropriately (Stamou 10).

The “ethos” theory, according to which particular musical modes could evoke characteristics of the soul and thereby affect both the emotions and characters of individuals and the well-being of society, had significant influence in American music education. The notion became prevailing in 19th century America, as noted in Woodbridge’s arguments, “every feeling expresses itself by a tone, and every tone awakens again the feeling from which it sprung”, thus “appropriately chosen music can inspire religious devotion, ‘elevate’ and ‘invigorate’ the individual morally and physically” (Stamou 9). A successful culture should foster citizens with good morality, therefore music could be used to cultivate the soul according to values and ideals in the society. Following this philosophy, national anthems became part of the nineteenth-century school repertoire. Nationalistic and patriotic hymns sought to unify the diverse country, and they also introduce immigrants and Native Americans to the American way of life. For example, Gunnery students used to sing Battle Hymn of the Republic in the Civil War era. As military

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leaders promoted singing to keep high spirit and morale among soldiers, teachers also encouraged students to sing marching songs (Hash 8).

Besides building characters, music could help strengthen mental flexibilities in observation, comparison, and expression. Mind, like a muscle, could be trained through cognitive exercises designed to improve memory, reasoning, will, and imagination. Musicians demonstrated advanced skills in both long and short-term memory. They often used pictures and narratives to link memories and attached multiple “tags” to a single memory, such as a conceptional tag, emotional tag, and contextual tag, and this considerably enhanced memory storage and retrieval. Other findings suggested that musicians acquired language and comprehended the rules and syntax of language more effectively than non-musicians. This area had attracted researchers to draw connections between the study of music and language processing in the brain. Researchers found that music education would assist the understanding of musical syntax, which would in turn assist the understanding of language syntax, due to a mirror neuron system developed in the musician’s brain. This system enabled the brain to complete two processes at once, making the brain work twice as effectively in the same amount of time. The same neuron system allowed simultaneous processing of different types of information, for example, analyzing a sound for both its perceptual and hierarchical qualities. To perform a set of interlinked tasks--planning, strategizing, setting goals, and paying attention to details--the brain had to be able to analyze information simultaneously.

Thus, people with musical training would be more likely to be efficient problem solvers. Furthermore, music education enhanced high level of plasticity which referred to the capacity to learning new things.

Despite the adage, “you can’t teach an old dog new tricks”, music would sustain high level of brain performance and creativity as well as brain health (Collins 5-6).

When finances allow, students are more willing to study music. Eventually what aspires student musicians is passion and genuine interest in the subject. Although a professional path is not for everyone, all students should be encouraged to participate in music, from learning the basic songs to understanding the theory. Music learning will help build characters and promote brain health, but more importantly, it is 43

the cream of human civilization which has originated from our emotions and creativity. To understand music is to understand ourselves, our society, our history, and the core of humanity. I hope the Gunnery continue to support the music department and maximize students’ interest, by providing performance opportunities, adding new facilities, or inviting professional musician to perform, and let the vivid music scene go on for generations.

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Works Cited Blevins, Brooks. "Where everything new is old again: Southern gospel singing schools." Southern Cultures 22, no. 4 (2016): 135+. U.S. History in Context (accessed February 12, 2018). http://link.galegroup.com/apps/doc/A477339620/UHIC?u=s1501&xid=4ba14934.

Britton, Allen P. "The How and Why of Teaching Singing Schools in Eighteenth Century America."

Bulletin of the Council for Research in Music Education, no. 99 (1989): 23-41. http://www.jstor.org/stable/40318323.

Co-Educational Report, The Gunnery Archives.

Collins, Anita. “Music Education and the Brain: What Does it Take to Make a Change?” University of Canberra, Australia, 2013.

Curriculum Guide. The Gunnery Academic Office, 1980-89.

Curriculum Guide. The Gunnery Academic Office, 1990-99.

Curriculum Guide. The Gunnery Academic Office, 2000-09.

Crawford, Richard, and David Warren Steel. "Singing-school." Grove Music Online. 19 May. 2018.

Retrieved from http:////www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o mo-9781561592630-e-1002257284.

Gibson, William Hamilton. Master of The Gunnery. The Gunn Memorial Association, New York, 1887.

Gordon E. Fouts, “Music Instruction in the Education of American Youth: The Early Academies,” Journal of Research in Music Education, XX (Winter 1972), 471.

Hash, Phillip M. “Character Development and Social Reconstruction in Music Education at the turn of the Twentieth Century.”

Retrieved from http://www-usr.rider.edu/~vrme/v11n1/vision/Hash.pdf.

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“Hotchkiss Ensembles Perform December 3.” Hotchkiss School, 2018. Retrieved from https://www.hotchkiss.org/news/news-post-page/~post/hotchkiss-ensembles-perform-december-320171121.

“How to Get to Carnegie Hall: Teamwork, Teamwork, Teamwork, and Practice, Too.” Hotchkiss School, 2018. Retrieved from https://www.hotchkiss.org/news/news-post-page/~post/how-to-get-tocarnegie-hall-teamwork-teamwork-teamwork-and-practice-too-20180130.

Jones, Merilyn. “Lowell Mason’s Contribution to American Music.” American Music Teacher, Vol. 27, No. 6, pp. 24-27. American Music Teacher Association, 1978.

Keene, James A. A History of Music Education in the United States. Glenbridge Publishing Ltd, 2009.

“March Concerts in Korea, China, and Hong Kong.” Hotchkiss School, 2018. Retrieved from https://www.hotchkiss.org/news/news-post-page/~post/march-concerts-in-korea-china-and-hongkong-20180309.

Mark, Michael L. A Concise History of American Music Education. R&L Education, 2008.

Marr, Harriet Webster. The Old New England Academies Founded before 1826. Comet Press Books, New York, 1959.

“National Standards Archives.” National Association for Music Education, 2018. https://nafme.org/myclassroom/standards/national-standards-archives/.

“October 20: Chamber Trio Concert Features Jerusalem Symphony Orchestra Players.” Hotchkiss School, 2018. Retrieved from https://www.hotchkiss.org/news/news-post-page/~post/chamber-trioperforms-october-20-20171002.

Pemberton, Carol A. “Lowell Mason and His Mission.” Music Educators Journal, Vol. 78, No. 5, pp. 4952. Sage Publications, Inc, 1992.

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“Performance Spaces and Resources.” Taft School, 2018. Retrieved from https://www.taftschool.org/arts/programs/music/choral-music/performances-spaces-andresources/.

“Piano Program.” Hotchkiss School, 2018. Retrieved from https://www.hotchkiss.org/our-school/summerprograms/piano-program.

Rush, Benjamin. “Thoughts Upon Female Education, Accommodated to the Present State of Society, Manners, and Government, in the United States of America,” The New England Quarterly Magazine, vol. 1 (April-May-June, 1802), 146-53; 473.

Scanlon, Mary Browning. “Lowell Mason’s Philosophy of Music Education.” Music Educators Journal, Vol. 28, No. 3, pp. 24-25+70. Sage Publications, Inc, 1942.

School Catalogue. The Gunnery Archives, 1883 School Catalogue. The Gunnery Archives, 1912.

School Catalogue. The Gunnery Archives, 1942.

Stamou, Lelouda. “Plato and Aristotle on Music and Music Education: Lessons from Ancient Greece.”

University of Macedonia, Greece, 2002.

“Standards.” Nation Association for Music Education, 2018. Retrieved from https://nafme.org/myclassroom/standards/.

Steel, David Warren. “Shape-note singing.” Encyclopaedia Britannica, 2017.

Retrieved from https://www.britannica.com/art/shape-note-singing.

The Gunnery Stray Shot. The Gunnery Archives, 1888.

The Gunnery Stray Shot. The Gunnery Archives, 1896.

The Gunnery News. The Gunnery Archives, February, 1997.

The Gunnery News. The Gunnery Archives, December, 1997.

“The Ketuvim.” Encyclopaedia Britannica, 2017.

Retrieved from https://www.britannica.com/topic/biblical-literature/The-Ketuvim.

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Wersebe, Frederic. Inspection and Dedication of the Judea Parish house. Washington, Connecticut, 1929. “58th Annual Festival of Lessons and Carols December 7.� Hotchkiss School, 2018. Retrieved from https://www.hotchkiss.org/news/news-post-page/~post/58th-annual-festival-of-lessons-and-carolsdecember-7-20171121.

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Appendix A: Annotations and Bibliography Avery, Patricia, and Hanley, Darla. An Investigation of Music Education Rudiments in Selected American Tunebooks of the Eighteenth and Nineteenth Century: 1700 to 1900, 2001, ProQuest Dissertations and Theses.

Avery lists detailed rudiments of some eighteenth and nineteenth century tunebooks. She briefly introduces the rudiments and their authors, giving a background of how they are constructed. His essay provides useful examples of some typical subjects of music education at the time when the Gunnery was founded.

Gates, J. “Music Education’s Professional Beginnings in America: Early Eighteenth-Century New England Singing-School Teacher Qualifications and Program Goals.” Visions of Research in Music Education 16, no. 1 (2010): 43-48.

In early colonial time, tunebooks were not learned in singing school due to time constraints.

Singing schools did not train teacher, and whoever reads the music properly could teach, and no instructions varied depending on teachers. However, they did emphasize on understanding of music rather than rote singing. Reformers at the time did raise the public awareness of music education, and the author discussed some of the program's goals. Gates relates the development of singing school to the history in Colonial America. His essay lays the background for music education, and it introduces what the music program was like before the Gunnery.

Keene, James, A. “Colonial New England.” In The History of Music Education in the United

States, 1-

13. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

In the colonial New England, Religious music was promoted; the format was reduced for singers to learn; secular and instrumental music were condemned. The sing school, the first formal institution in English colonial America whose purpose was to teach music, was established. The author provides relevant evidence to suggest the start of music education in colonial times. It is important to understand the European influence in early music forms.

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Keene, James, A. “The Singing School.” In The History of Music Education in the United States, 14-34.

Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

John Tufts published a volume of psalms tunes, which was the first book of music instruction to appear in Britain's North American colonies, introducing note gamut fa, sol, la, and mi; his Introduction to the Singing of Psalm Tunes showed accurate reading of notation to train singers in churches. Thomas Walter: standardized note-reading so that more complex tunes can be added to psalms, in response to the gradual deterioration of psalm singing. Singing schools prevailed, instruments were introduced under English influences the primary goal of training was to sing in Church; Moses Cheney served as an example of a typical music student of the day. William Billings popularized the old ''fugues', a unique element in American folk. This chapter focuses on the development of the singing school, with educators contributing texts and tune books for studies. It shows methods of musical instruction Keene, James, A. “Tune Books and Performance Practice.” In The History of Music Education in the United States, 35-63. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

The four note gamut was most widely used, until Andrew Adgate introduced a seven note gamut in 1788. Singing masters taught about identifying major and minor. Walter however did emphasize ear training besides theoretical studies. Economic intercourses flourished between America and Europe, bringing musical instruments, books, and people that transformed performance practices. Under European influence, the metronome and rhythm, the meter signature, rote learning, expression marks, shape note system, and a variety of music techniques came into significance. Tune books were well embellished.

Singing schools declined when more Americans looked toward European guidance in music; European secular songs went acceptable to Americans, and musicians from Europe came; Andrew Law accelerated this reform by attack upon American music in 1793 and recommending its replacement with European music.

Keene, James, A. “Colonial Education: Public Attitudes of the North and South.” In The History of Music Education in the United States, 64-78. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

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Boston hired a schoolmaster as early as 1635; the schools followed Puritan creed; first educational law in the colonies was the Mass. Act of 1642, which required literacy of children; the Old Deluder Satan Act of 1647 was the first law to require the establishment of schools; violations led to a fine of five pounds; school system gradually became mature with rich curriculum; yet, no music class was conducted. In 1636, Charlestown hired an English university graduate to run a school for 12 months; some music instruction; music was more praised in the south due to the respect for material wealthy in Virginia; in Charleston, music education was required; plantation families supported musical performances, diverse population resulted in interchanges between musical styles, and women also actively played instruments and sang; Charleston was regarded as an "European metropolis", and the concerts were almost simultaneous with those of London; more sophisticated musicians; by 1780 Philly was ranked the first music city in America; music education mostly directed toward girls; by 1791, a theater was built in Philly. This chapter compares music education in different parts of the country, and it validates the difference status of music in the north and the south. In general, the South has put more emphasis on musical instruction, especially to girls. The North however develops a mature school curriculum without music courses. It also brings the point that American music was still largely influenced by Europe, with European musicians typically in Charleston actively performing and teaching.

Keene, James, A. “Educational Reform of the Eighteenth and Nineteenth Centuries.� In The History of Music Education in the United States, 79-101. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

While the Church insisted that the purpose of education was to improve man's spirituality, some modern philosophers fought back and encouraged a more practical curriculum. Locke rejected scholarship and focused on real life, and Rousseau's book called people's attention to education which led to reformed and developments in both Europe and America; Puritan control loosened, and rational thought prevailed; Heinrich Pestalozzi was the leading influence on education, who believed that school should be based on family teaching. His philosophy was adopted by Pfeiffer and Nageli who wrote Gesangbildungslehre, a 51

music test in school. P and N were outstanding Swiss musicians, and they opened a school in Solothurn; they wrote books about teaching methods as well; religious chorales were replaced with children's music that suited their nature; Pestalozzianism in American traced back to 1806 in the National Intelligence; Joseph Nicolas Neef: first P promoter in America; focused on distinguishing tone; formed new set of syllables for singing: ta, ra, ma, fa and la; he made P familiar to music educators; William C Woodbridge returned from Europe in 1829 and focused on the development of common schools by publishing journals in American Annals, and he's always been an advocator for music in common schools; Elam Ives: published the first division of music instruction into rhythm, melody, and dynamics; Keene, James, A. “Lowell Mason and His Times.� In The History of Music Education in the United States, 102-135. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Laws demanded schools to be mandatory; educators like Horace Mann actively advocated for common schools, and he founded the Common School Journal to influence public opinions and set up normal schools to train teachers; in the nineteenth century, cultural activities expanded; operas were first heard in New York, the Philharmonic Society of New York was founded in 1842, the Mendelssohn Quintet Club in Boston in 1849, first German singing society appeared in Philly in 1835, and there were over a hundred musical societies in Mass. from 1745 to 1840. The Boston Handel and Haydn Society sparked these societies, stimulating amateur choral groups throughout New England and spreading the European arts; Lowell Manson advanced Pestalozzianism; he received instruction in harmony and composition and formed a manuscript collection for his own use; in 1821, he published the Boston Handel and Haydn Society Collection of Church Music; he promoted rote learning, ear training, and imitation; he gave lessons two days a week, and his students had important concerts in 1832 and 1833, which were reported to be "enormously successful"; the Boston Academy of Music hired Manson as a professor and used P's principles; the academy attracted teachers by holding lectures; various music forms appeared in concerts; private schools started teaching music; proposed to add music into primary school curriculum; Lagged development of school system in the South: 1. slavery; 2. punitive northern policies of 52

reconstruction; 3. inadequate taxation; 4. tolerance for casual attendance; 5. southern conservatism; 5. teachers weren't well paid; funds expended per pupil in the South were below national average; in 1890, education was brought into discussion in the South, 60 years later than Horace Mann; Herbartianism: beginning for thee scientific study of education in the United States; Herbert Spencer: attacked music (144).

Keene, James, A. “Music in the Private Academies and Select Schools.” In The History of Music Education in the United States, 146-165. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Number of academies grew; co-ed boarding schools in rural areas provided wider range of curriculum compared to Latin school; they were supported mostly by endowments; schools competed with one another on the music course offerings; "Act of Incorporation" at Andover in 1870 mentioned music as one of the core subjects; music taught to young ladies: "enable her to soothe the cares for domestic life"; the first normal school opened in Concord, Vermont: important for instructors to be able to sing; specific music programs in private schools; girls involved; lots of schools taught music as a regular branch; lessons charged separately from tuition; Richmond: increasing European performances augmented concert life; by 1855, music instruction was mainly considered for girls, whereas boys were expected to be in touch with the more logical studies, but they could take music classes.

Keene, James, A. “Educational Growth and the Expansion of Music.” In The History of Music Education in the United States, 166-199. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

School law in PA in 1901 promoted the centralization of schools; public high school in Middletown, CT became free in 1861, but in early years it still charged four dollars per year; the education system did not copy the European's, due to the unwillingness to accept the rigid class system; struggled to set a teaching level for music and general studies; needed money to expand the music curriculum; State Association of Teachers: journal of education; encouraged vocal music and teacher training; however, some believed that music shall develop after a curricula of common school was fully

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built; opposers asserted that music education would interfere with other studies; Adam holds supportive view on music, however music was not accepted into the common school at the time; Keene, James, A. “The Great Publishing Carnival.” In The History of Music Education in the United States, 200-215. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

In the mid of the nineteenth century, tune books were published in large quantities; the Oliver Ditson Company was the largest single publisher of tune books; the educational philosophies was confusing: some, like Manson, advocated mechanical drill; others were for note-reading; a new system developed in England in which no staff was used; yet American teachers refused to learn it and they taught staff and rote singing; Manson remarked that the real rote singing should be giving right examples at the start so that students could distinguish between a musical and unmusical style; he used imitation and repeat in teaching; Hosea Edson Holt opposed rote singing; he believed that children should understand the mechanics behind music.

Keene, James, A. “Music Teacher Education, 1823-1914.” In The History of Music Education in the United States, 216-235. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Teachers’ education at normal schools: admission requirements were low; prepare teachers for rural schools; in 1847, normal school at Lexington, MA, boasted that "all school attends to vocal music, drawing and composition during the entire year." Following that, music offerings expanded; the author offers examples of music offerings; perspectives on music education: 1. musical instruction of various kinds were on the increase; 2. music educators sought to raise standards; Keene, James, A. “The Child-Study Movement and the Psychologizing of Education.” In The History of Music Education in the United States, 236-241. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Only abstract subjects were believed to be able to sharpen intellect, the premier emphasis of education.

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Keene, James, A. “The Music Educator and Music Appreciation.” In The History of Music Education in the United States, 242-259. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Notable educators and their methods: concerned with the diminishing appreciation for music; books on teaching appreciation was published; emphasis on the perception of musical form; Mary Regal: taught appreciation to the public (including those without musical background); "repetition and contrast, rhythm and modulation"; designed curriculum according to years of study; Will Earhart: sets model for later appreciation class; study composers; music became a serious class; advanced music study in Chelsea, MA; require music classes for college; [list of works studied in high school] in 1909 - 1910, enrollments of high school students of Chelsea in music averaged 27 percent; learning toward broader understanding of music than pure singing; George Oscar Bowen was the music director of the Northampton High School, lessons required with credits; influence of mechanical piano (before phonograph).

Keene, James, A. “Frances Elliott Clark and Music Appreciation.” In The History of Music Education in the United States, 260-286. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Frances Elliott Clark encouraged rote-note approach and ear training; she was reputed to have created one of the best organized and high quality music programs in the country; music supervisors national conference was held in 1907; early phonograph: about 500 recordings were made for educational purposes under the direction of Mrs. Clark radio spread music courses, schools competed for adequate allotment of radio time to complement instructional purposes; Walter Damrosch: regular series of broadcasts; first to broadcast children's concerts nationally; music memory contests rose and declined.

Keene, James, A. “The Rise of Instrumental Music.” In The History of Music Education in the United States, 287-300. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

At the turn of the twentieth century, European masters came to urban areas to perform, and they did much to stimulate the interests of instrumental study. Instruments used to be uncommon in Puritan New England; few taught music instruments, but some teachers combined singing and playing; violin 55

teachers encouraged students to stay full year and participate in concerts; Benjamin wrote the Musical Academy, an instrumental tune book and he sold violins to make a living besides teaching; he included large numbers of instrumentalists in the orchestra between 1883 and 1891, with two thousand children taking part; America imitated European conservatory, and the American conservatory was aimed at people at all levels and abilities in the hope of generating a cultural renaissance; yet the conservatory declined when music instructions went popular in public schools. The chapter explains an important turning point as music education started to include instrumental learning in addition to singing. The movements definitely had impact on both private and public schools and the time, which may relate to the opening of instrument offerings at the Gunnery.

Keene, James, A. “Joe Maddy and the Expansion of Instrumental Music.” In The History of Music Education in the United States, 301-314. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

The chapter discusses Joe Maddy's effort to develop orthodox instructions on instruments. He used the technique of group instruction and aided his students with shorthand fingering system; he developed a good high school orchestra; he got instruments for students and liked to mark on music piece for instructional purpose; getting instruments had always been a barrier, but he successfully acquired fifteen thousand dollars for instruments. Maddy's National High School Orchestra had an enormous impact on music education, for people did not believe that high school students could perform that well; some examples of the program were provided, including challenging symphonies written by many preeminent European composers; the performance impressed the school board, and music was now on its way toward a universal acceptance in the nation's schools. The chapter furthers the discussion in the previous one by introducing one important figure in expanding music programs at school nationally. Again, it is crucial to look into this movement and analyze how his contribution might have changed private schools' curricula.

Keene, James, A. “Early Bands in the United States.” In The History of Music Education in the United States, 315-337. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

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Around 1800, various bands came into shape in America. Patrick Sarsfield Gilmore was the promoter of minstrel’s bands and he largely increased the popularity of town bands. Some school bands appeared in the 19th century, but it is after the 1920s when vital interest in public school bands began.

Christian Brothers High School in Memphis and the Connersville band were two examples, and the rise of school bands sparked the interest in instrumental music as well, though the concern were chiefly for the school orchestra. By 1923, bands held a definite place in the school schedule with regular rehearsal and trained instructor. Music contests also played a large role in the stimulation of instrumental music in the public schools. Given the background of the nineteenth century, it is easier to understand our school's music program, especially the early bands.

Keene, James, A. “The Renaissance of the Choir.” In The History of Music Education in the United States, 338-365. Centennial, Colorado: Glenbridge Publishing, Ltd, 2009.

Various Russian singing groups inspired a cappella singing. Chorus gained importance in college, and these choruses exert strong influence on the high school a cappella singing. Casual singing took place in every high school; though never abolished, the chorus's importance has gradually faded with the rise of instruments. Some glee clubs were formed, but mostly for entertainment purposes. George Oscar Bowen was concerned with the chaotic status of high school chorus, and he worked to improve high school music performances. The a cappella choir evolved from the glee clubs in 1927, under the influential performances by the St. Olaf Choir, the Westminster Choir, and the Russian Symphonic Choir. The National Broadcasting Company's "Music and American Youth" broadcasts to stimulate interest in high school a cappella singing. Again, I would love to compare these movements with Gunnery's music environment at the time to see overlaps and differences. Considering Troubadours has a significant role in the school music program, the history of high school choirs’ development cannot be neglected.

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Appendix B: Gunn Scholar Proposal Although not part of the academic curriculum, music has played a popular role in the Gunnery community. From the musical to the ukulele club, we celebrate young musicians in every aspect. Back to the nineteenth century when our school was founded, when preeminent European composers had been actively contributing to the music world, when the New York Philharmonic was established, when Carnegie Hall opened in New York, America was under the influence of classical music. Today, modern music prevails the country, with Gunnery jazz and rock bands performing on coffee houses and concerts. I fall into pondering: how did the music program look like in the school back in the 1850s? How did it evolve and change? How does Gunnery music relate to the broad music history?

Starting to play the violin at the age of 10, I could never compare myself with those talented young musicians who picked up the instrument in kindergarten. Even on the registration day of my freshman year when I met my advisor, Dr. Wojcik, who was the Chair of Performing Arts Department, I was quite surprised. However, after almost three years on this lovely campus, I can definitely say that if I did not come to the Gunnery, I would never pursue music education with the passion I now possess. I am more than grateful to the opportunities at the Gunnery, from playing in a group of instrumentalists to attending concerts at Lincoln Center. I could still fondly remember my first time in a grandiose, globally famous concert hall, listening to Verdi's opera‌ the field trips opened up a new world for me. All my friends could tell you how Emma would take advantage of the vacation time to go to concerts in New York City or how she loves visiting museums. Those were the interests I would barely have before studying here. More importantly, I had the chance to meet people who share the passion—Dr. Wojcik and Ms. Protenic who devotedly support the music program; Mr. Ferreira and Mr. Brooks who help build my violin skills; Jenna Lee whom I always look up to both as a scholar and a musician. My entire experience at the school have imbued passion into my blood—the perseverance and love of 58

music learning. That was my story. Yet I believe that the Gunnery has witnessed countless examples like me. Through researching, I would love to connect the examples and find out how the historical background and the school had an effect on their music experience. As I deeply appreciate the Gunnery for sparking my interests, it would be meaningful to deliver mine to the community and inspire more students in musical studies.

As a three-year-junior at the Gunnery, I have been a motivated student in classrooms and co-curricular. Academically, I never stop challenging myself to take the most advanced classes and put the best effort into them. Last school year I have achieved Dean's List for all three terms.

The demanding readings assigned in AP World History set me up as a critical reader who enjoyed putting pieces of history together and analyzing them in essays. The online AP Computer Science class requires me to self-teach by looking up videos and materials, while asking for help from peers and the teacher when needed. Though it proves to be an incredibly difficult class, it does not deter me from seeking improvements, as I choose to confront the challenge of the class instead of dropping out. On the sports field, I have played JV Field Hockey for three years as the central defender. The team allows me to start from zero and work hard to earn a position on the field. From running aimlessly on the turf to going for every ball, I have developed endurance and played with motivation. In the music room, I hang out with the violin scales, the etudes, and the music pieces, without becoming impatient with the difficult lines in the pieces which I have to practice repeatedly. Like twisting and polishing each part in the music piece over and over again, researching requires one to "re" search—digging into the whirl of information until the analysis comes clear. The Gunnery has taught me to put complete dedication into the all classes and activities. My academic ability, grits, and determination will, I firmly believe, prompt a success at Gunn Scholar research.

Emma Wang April 27, 2017 59

Appendix C: History Bites

Emma Wang, a 2017-18 Gunn Scholar at The Gunnery, will give a presentation titled, "Music Education in American Private Schools" at 12:00 p.m. on Thursday, May 24, 2018 in the Wykeham Room of the Gunn Memorial Library as part of the History Bites lecture series.

Looking at documents since the founding of The Gunnery, Ms. Wang has drawn connections between the school music programs and the broader history of music education. With a focus on the town of Washington, Connecticut and local institutions, her research illustrates the changes and developments of musical instruction.

History Bites is an annual, nine-week lunchtime lecture series, that takes place from April through June, on topics of local history at different heritage sites throughout northwestern Connecticut. All lectures, which are free to the public, will be held at noon on Thursdays. Attendees are invited to bring lunch. Beverage and dessert will be provided by the hosting organization. The theme for this year’s lecture series is Local Treasures. The 2018 History Bites series is sponsored by the Connecticut Community Foundation.

The Gunn Library & Museum is located at 5 Wykeham Road, at the intersection of Wykeham Road and Route 47, in Washington. Parking is limited, please carpool. Call the Gunn Museum at 860868-7756 or view www.gunnmuseum.org for more information

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Appendix D: Illustrations

MAY 24 History Bites: Music Education in American Private Schools

19th Century Camping

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Psalm

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The Academy on the Green 1818

Gunnery Chapel Hymnal

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Young Ladies Academy in Philadelphia l

Gunnery Camping at Point Beautifu

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Frederick Gunn’s Melodeon (pump organ)

William G. Brinsmade

Adrian Van Sinderen

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Arthur D Woodruff

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Woodruff’s House in Washington Town

Minstrel Show

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Gunnery Banjo and Mandolin Club 1896

Gunnery Musical 2016-2017

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Outdoor Concert 1932

Glee Club Concert and Awarding of Prizes

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Holiday Concert

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Jenna Lee’15 at Carnegie Hall

Club Activities 1958-59

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Appendix E: Gunnery Drama Productions 1850 -2011

1850: The Drunkard 1858: Neighbor Jackwood 1859: Neighbor Jackwood 1860: Neighbor Jackwood 1860: Uncle Tom’s Cabin 1861: Uncle Tom’s Cabin 1861: Fortune’s Frolic 1861: The Bashful Man 1862: Blanche of Brandywine 1862: The Toodles 1862: Box and Cox 1863: Neighbor Jackwood 1864: The Last Days of Pompeii 1864: Dred 1864: Parents & Guardians 1864: Toodles 1864: Fortune’s Frolic 1865: The Last Days of Pompeii 1865: More Blunders Than One 1865: Romance Under Difficulties 1865: Uncle Tom’s Cabin 1865: Trying It On 1865: To Parents and Guardians 1869: Irish Lion 1869: Helping Hands 1870: Bluebeard 1872: Sheep in Wolf’s Clothing 1872: Ici on Parle Francais 1873: Betsey Baker 1874: Ticklish Times 1877: Slasher and Crasher 1879: My Brother’s Keeper 1879: My Turn Next

1883: Gentlemen of the Jury 1884: An Advertisement Answered 1884: Poison 1884: New Broom Sweep Clean 1884: Lochiel’s Warning 1884: Duchess of Dublin 1885: More Blunders Than One 1885: The Two Buzzards 1885: Meg’s Diversion 1885: Freedom of the Press 1886: Our Folks 1889: Peasant and King 1890: My Brother’s Keeper 1892: Evening Dress 1893: The Original 1894: Forty Minutes with a Crank 1895: To Parents and Guardians 1895: The Lady of the Lake 1896: Ukulelee/The Belle of The South Seas 1897: Sayings and Doings 1897: Old Cronies 1897: The Fatal Massage 1897: One Hundred Years Ago 1898: Jack of All Trades 1899: Fortune’s Frolic 1900: The Gunnery Minstrels 1900: Who’s to Win Him 1900: Old Cronies 1900: The Revolving Wedge 1900: Robin Roughhead 1900: Slasher and Clasher 1901: Box and Cox 1901: A Box of Monkeys

1902: Uncle Rube 1902: Mr. Bob 1903: Gunnery/Ridge Minstrels 1904: My Fun Next 1904: The Freedom of the Press 1904: Ici on Parle Francis 1905: A Suit of Living 1905: Mrs. Tubb’s Telegram 1906: Fortune’s Frolic 1906: Poor Pillicoddy 1906: Our Aunt Robertina 1907: The Ninth Guest 1909: Under a Cloud 1910: Who’s to Win Him 1911: Half Back Sandy 1911: The Hundredth Trick 1911: My Lord Livery 1912: To Parents and Guardians 1912: Miss Civilization 1912: The Snare and the Fowler 1913: The Efficiency of Man 1913: Best Man 1913: The Bishop’s Candlesticks 1915: In Dixie Land— Minstrel Show 1916: Helping Hands 1918: A Christmas Carol 1919: The Lost Silk Hat 1919: The Man Who Married a Dumb Wife 1919: The Very Naked Boy 1919: Niobe, All Smiles 1919: Ten Thousand Dollars 1919: By Courier 1919: A Night at The Inn 1921: Poor Old Jim 77

1921: In the Ozone 1921: By Courier 1921: The Robbery 1922: The Hazing of Thornton 1922: The Sire de Maletroit’s Door 1924: The Missing Card 1924: The Crimson Cocoanut 1925: The Exchange 1925: The Will 1927: The Dover Road 1928: Pleased to Meet You 1931: The Devil’s Disciple 1932: The Perfect Alibi 1933: The Youngest 1934: The Government Inspector 1936: Wappin Wharf 1937: The Ninth Guest 1938: Tons of Money 1938: Trial by Jury 1941: Aria da Capo 1950: First Cousins 1950: A Game of Chess 1951: The Still Alarm 1951: A Night at the Inn 1951: Front Page 1952: Our Town 1952: That Certain Satan 1952: Tell Tale Heart 1952: Murder at the Class Reunion 1952: On Borrowed Time 1953: Mr. Roberts 1953: Journey's End 1954: The Silver Whistle 1954: Skipper Next to God 1955: Bernardine 1955: Mrs. McThing 1956: The Hasty Heart 1956: The Caine Mutiny 1957: Twelve Angry Men

1957: The Teahouse of August Moon 1958: The Rainmaker 1958: The Man Who Married a Dumb Wife 1958: In the Zone 1959: The Refund 1959: The Importance of Being Earnest 1959: Alice in Wonderland 1959: The Taming of the Shrew 1960: Androcles and the Lion 1961: A Night at an Inn 1961: Dial M for Murder 1961: Billy Budd 1961: The Bespoke Overcoat 1962: Death of a Salesman 1962: Caesar and Cleopatra 1962: Oedipus 1962: Antigone 1963: Our Town 1963: Harvey 1964: Home of the Brave 1964: Life with Father 1965: The Lady’s Not for Burning 1965: The Great Sebastians 1969: Still Life 1969: Fumed Oak 1969: Miracle Worker 1970: Lovers 1970: Winners 1970: Blithe Spirit 1970: Our Town 1971: Black Comedy 1971: Runaway People 1971: Prime of Miss Jean Brodie 1971: The Man in the Bowler Hat 1971: The Old Lady Shows her Medals

1971: Hay Fever 1971: Twelfth Night 1971: Pigeons 1971: Living Through 1971: Last Rights 1971: Dial 322-1900 1971: The Stronger 1971: The Bacchae 1983: The Man Who Came to Dinner 1984: The Happiest Days of Our Lives 1985: How to Succeed in Business Without Really Trying 1987: You Can’t Take It With You 1989: Twelfth Night 1989: Mousetrap 1989: Zoo Story 1989: You’re a Good Man, Charlie Brown 1992: Once Upon a Mattress 1993: The Heidi Chronicles 1993: Rumors 1994: A Funny Thing Happened on the Way to the Forum 1994: You Can’t Take It With You 1995: Working 1995: The Importance of Being Earnest 1996: Little Shop of Horrors 1996: The Tempest 1997: The Fantasticks 1997: The Nerd 2001: It Runs in the Family 2002: Leader of the Pack 2002: Cocktails With Mimi 2003: The Boy Friend 2003: Picnic 2003: Love Letters 78

2004: You’re a Good Man, Charlie Brown 2004: Lend Me a Tenor 2004: The Laramie Project 2005: A Midsummer Night’s Dream 2005: Wit 2005: Lost in Yonkers 2006: The Secret Garden 2006: Odd Couple 2007: Grease 2007: The Foreigner 2008: Guys and Dolls 2008: All in the Timing 2009: The Good Doctor 2009: An Enemy of the People 2010: Once on this Island 2010: Too Much Memory 2011: The 25th Annual Putnam County Spelling Bee

NB: From Mrs. Van Ingen's Survey of Drama (1917) The early plays (1870-1883) were unclear as to whether they were put on by the town's Dramatic Association or by the Gunnery boys -I have only included those specifically said to have been mounted by The Gunnery.

From 1884-1910 some information is from the Stray Shot From 1910 - 1960 the information is from programs and Red & Gray

From 1960 - 2011 the information is from The Red and Gray, The Gunnery News, and programs

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