moters of the movement. To keep the system out of the schools was an equally strong determination on the part of those who preferred the old ways. The struggle lasted for many years, now one side and now the other gaining the advantage. It was a hand-to-hand contest between medieval and modern methods, and, as such, could have but one conclusion. Tonic sol-fa now has practical possession of the schools of the kingdom.

In 1875, the Tonic Sol-fa College of London was incorporated, and it is now the center of influence and authority for the movement in all parts of the world. One of the most valuable features of the system is the series of certificates issued by the college. They are carefully graded, from the "junior" for school children up to the diploma of the "graduate and licentiate "of the college. This plan renders charlatanism among teachers impossible. No one can make a claim beyond his deserts, as is sometimes done in the musical profession, as in all others. Whoever represents himself as a tonic sol-fa teacher must prove his standing by the proper certificate, or his claim will receive no consideration.

It may be thought strange that this sketch does not include a description of the technical characteristics or peculiarities of the system by which so radical a change is being wrought in the musical world. But experience has proved that any verbal statement is so inadequate as to be only a disappointment to the reader. Nor is this to be wondered at. The system is based upon nature. Nature's ways are simple. The reader could not be made to understand from a mere schedule and descrip

as technically employed in music, refers to the key-tone- the lowest or foundation-tone of the scale. "Sol-fa" represents all the musical syllables. The whole term, therefore, means that tones are studied in their relation to the central or key-tone, and that the syllables are used to aid by the power of association and by affording a natural or vocal system of notation The movement arose in England as a reaction against the unnatural "fixed-do" method, and the name carried much weight at the outset by showing that the new system was based upon the true principle of key-relationship.

The public should realize that the value of the tonic sol-fa system is fully established. I long since passed beyond the experimental stage and took its place among the educa tional forces of the day. But as it is still com paratively new in this country, a few facts and statements are herewith given to show (1) that a reform in musical methods was needed, and (2) that the means for accomplishing the reform are completely supplied by the new notation

First. The staff notation confuses the leame by the uncertainty of its signs. Nearly every s character employed has several different mean ings, and the same musical fact or truth bas several different signs. This can best be shown by an illustration. A musical phrase is printed below in three different keys. It will be seen that not only is every note placed upon a dif ferent degree of the staff, thus requiring a dis tinct effort of the mind in reading, but nearly every chromatic sign is different in the three keys. Who but an expert would imagine that the musical idea is precisely the same in each case?

tion of the signs and symbols of the tonic solfa notation how it succeeds in opening an avenue through the world of music for all mankind. Yet it does so, and the object of this article is merely to call the attention of the public to the fact, in order that the vast benefits of the method may be extended. To understand the system and its application, the proper text-books must be studied.

The question is often asked, "Why this singular name, Tonic Sol-fa ?" It seems meaningless to the unmusical. The word "Tonic,"

Second. In the tonic sol-fa notation each separate fact has a distinct sign, and each sign has but one unchangeable meaning in all the twelve keys. In the above example, as has already been stated, the different signs express (or conceal) the same musical thought. In the tonic sol-fa notation, the expression or represen tation would be precisely the same in each case, the pitch being indicated, according to the or dinary standard, by the words printed at the top "key of C," "key of D flat," "key of E." Third. The difficulties of the staff are cumu

tive. Every step of progress leads to new and increased complications. presFourth. Per contra, the steps of the tonic 1-fa method are perfectly graded. Each intent gained prepares for and leads to the nd text, in educational order. By this method de advanced stages of musical study are as VocalSy and pleasant as the first elementary steps. En Fifth. The value of the new system as an terpreter of the old is proved by statistics chowing that tonic sol-fa has produced more aff readers in Great Britain than all other ethods combined.

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Sixth. The new notation is carried by English ssionaries to all parts of the globe, and they ad that the natives can learn to read the lanage of music from it much sooner than they n learn to read their own spoken language. Seventh. The teachers in the London Board hools are allowed to use whatever method ey prefer, but are required to produce cerin results. Of the four thousand teachers in hat city all, without exception, adopt the tonic Pol-fa system. This establishes its value as an lementary or school method.

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Eighth. All the classical vocal music is printin the tonic sol-fa notation—oratorios, asses, cantatas, glees; from Handel's Meshisah to Gounod's Redemption, and from the maintest madrigal of Ford or Wilbye to the atest part-song of Hatton or Pinsuti. In orler to supply the popular demand, Messrs. Novello & Co. are reproducing the whole of heir immense catalogue of vocal music in the onic sol-fa notation. This proves its value on the side of higher art.

Ninth. The most eminent English musicians now heartily indorse the movement. When Dr. Stainer, organist of St. Paul's Cathedral, was appointed Inspector of the Training Coleges of the Kingdom two years ago, his first official act was to appoint as his assistant one of the most prominent tonic sol-fa teachers, Mr. W. G. McNaught.

Tenth. The above statement is equally true of the best American musicians, who invariably acknowledge the value of the system as soon as they understand it.

Eleventh. Thousands of amateurs throughout the kingdom are pursuing the study of harmony by postal lessons sent out from the college, showing the incentive to thoroughness which is given by the system.

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Twelfth. The tonic sol-fa classes have led very many cases to the formation of amateur bands, proving that the notation also has great value upon the instrumental side. This anticipated by the original promoters of the movement, who supposed the notation to be only suitable for the expression of vocal

music.

VOL. XXXV.-45.

As mathematics found its key in the nine Arabic figures, so music has found its key in the seven letters of the tonic sol-fa notation. The art is virtually emancipated. It is no longer a deep mystery, to be understood only by the favored few who are born with an exceptional musical faculty. It is brought, by its new method of representation, into conditions which are as easily comprehended by the ordinary mind as the rules of addition and subtraction. For those who possess a natural talent, the tonic sol-fa notation affords the best possible channel for cultivating it. Where the musical gift is deficient, it encourages and develops the latent capacity.

Theodore F. Seward.

OPINIONS OF A CRITIC.

THE question of the value of tonic sol-fa presents itself in two phases. A serious consideration requires that we look not only upon its immediate effect upon present musical effort, but also at its ultimate sociological importance.

As a system of primary education in one department of music, tonic sol-fa has so much to commend it that it scarcely seems worth while to spend time in its discussion. It is already a strong tree known by excellent fruits. To one, therefore, who is concerned simply with local results and existing conditions, there would seem to be only one practical question left open,- How does the education which it is competent to promote stand with relation to the dominant tendency in the cultivation of music?

Tonic sol-fa is admirably adapted to the study of harmony and of singing.

It is ill adapted to the study and practice of instrumental music.

In spite of the multitude of fine phrases that find their way into books and newspapers, the fact is that in this country music is as yet looked upon as a mere accomplishment. Its science is neglected and its popular practice is, as a rule, limited to that phase which yields the most generous (or sonorous) results with the least expenditure of emotional and intellectual force-that is to say, to pianoforteplaying. We may regret this state of affairs, but we are bound to recognize its existence. Now, so long as we confine our efforts to skimming over the surface of music, so long as we continue to vote harmony and the deeper things of the art unessential to popular musical education, and so long as we go on with our present one-sided cultivation of instrumental music to the neglect of vocal, so long we

shall have no need of tonic sol-fa. To the instrumentalist the system presents an utterly inadequate notation, one which places many more obstacles in his path than it removes from the path of the singer. The complexities of the staff notation do not provide embarrassments for the instrumentalist in the degree that they do for the singer, and it is possible that some of them may, in time, be removed. (Wagner's treatment of the parts of some of the transposing instruments in his later orchestral scores might be cited as an indication of a determination to consider simplicity even at the cost of grammatical accuracy.) For instrumental music the staff notation is so beautiful and efficient a system of symbols, however, that an improvement on it is scarcely conceivable. One thing is certain, no system will supplant it that ignores the pictorial element which is so potent a factor in indicating pitch and time. On this I wish to lay special stress. Our music is growing more and more rich and complex in rhythms, and with every step in this progress toward a greater rhythmical heterogeneity the time signs of the staff notation must advance in our admiration. Try to imagine what a page of Wagner's "Meistersinger" would look like in tonic sol-fa notation. The hopelessness of an attempt to read it as one can read it in our ideographic staff system is apparent at once, and compels a recognition of the inadequacy of tonic solfa for all modern music except that written for voices.

But tonic sol-fa has cast away whatever ambition it may once have had to drive out the staff notation. Advocates of the system now confine themselves to urging its peculiar value in teaching vocal music and harmony, and say that it simplifies the study of the staff, knowledge of which they admit to be necessary for all who wish to cultivate instrumental

music.

In both respects their claims are amply justified; indeed, they have so convincingly demonstrated the correctness of their opinions by exhibitions of attained results, that the case has been taken out of court with judgment in their favor on all the pleadings except the demurrer of the instrumentalists. The adjudication is not only complete, but in the obiter dicta of the decision are contained the most valuable lessons taught by the controversy. On some

of these lessons I should like to offer a few suggestions, keeping what I have called the "ultimate sociological importance" of the system in view.

There is no doubt in my mind that tonic sol-fa is the fittest means at our command for the promotion of popular choral culture; and a more general, more zealous, wiser cultiva

tion of choral music is the greatest of the socioeducational needs of the United States.

The claim of the tonic sol-faists, that the true method of teaching vocal music is by the intervalic relation of tones, and not by abso lute pitch, is unquestionably sound. Á sense of absolute pitch is the possession of the fewa highly favored and exceptional few, even among professional musicians. There have been great composers who did not have itRaff, for instance. To acquire it is all but impos sible; to teach it to the masses in schools and choirs is utterly impossible. To bring to the pupil a knowledge of intervals independently is the aim of other methods of instruction but tonic sol-fa teaches all intervals in their relation to a fundamental tone, the key-note and in this fact lies its superiority. Tonal ity, which is impressed upon the mind by this means, distinguishes the complex modem art from the comparatively simple and half developed art of the Middle Ages.

Tonic sol-fa is in accord with the scientific basis of music. While it teaches sight-readingthe first aim of every system of musical in struction-just as thoroughly (to say no more as its chief rival, it teaches it more quickly and by keeping before the learner an ever-ac cessible starting-point to which he may recut in moments of perplexity, it inspires him with confidence in himself and interest in the com position. There is nothing surprising in the fact (which I believe to be indubitably estab lished) that learners by the tonic sol-fa method. acquire a remarkably deep and enthusiastic interest in music. Each successive step in the. study of a work lays bare something of its harmonic structure and affords a glimpse to that extent of the operations of the composer's mind. Every such perception creates a bond of interest. Choir-singers know what this means they know that at no other time do they feel themselves so close to the heart of a compo

sition as while they are helping to sing it. A German writer, Hermann Kretschmar, has ap positely stated one of the benefits derived by the individual from the cultivation of choral music, in these words:

"Whoever belongs to a singing society in which study is wisely conducted, at each performance accomplishes a work and receives a reward analogous to those of a painter who has copied a masterpiece. And he who has spent a generation in such a society can

cherish his recollections like a museum."

Schumann emphasizes over and over again the advantages to be derived by the musical student from singing. "Sing diligently in choirs, especially themiddle parts; this will make you musical," he says in one of his "Musical House and Life Rules," and in another he gives utterance to words which might have

ween adopted as a motto by the tonic sol-fa arty: "Even if you have but little voice, learn ssing from the page without the help of an strument; it will sharpen your hearing." To make the community" musical" in fact, ot merely in affection—this should be the im of musical instruction; and for several ther reasons than those already given tonic l-fa lends itself with superior advantage to ne mission. A few more appropriate words om Schumann as to desirable aims: "It is ot enough to know your piece with your finers; be able to hum it over without the pianorte. Quicken your fancy so as to be able to eep in mind not only the melody of a comosition, but also the harmony belonging to it." You must make yourself able to understand usic from the printed page."

The advantages which accrue to the individal from the study of choral music are transitted to the community. The musical taste f a city or town may be accurately estimated rom the extent and character of its choral acivity. There are said to be over three hunred cities and towns in Germany containing ach a choir and an orchestra capable of perorming classical music. There are not twenty a the United States.

On these premises a deduction of the value of a system of instruction which addresses itelf with peculiar energy and potency to choiringing can easily be made.

There are features in tonic sol-fa which seem to mark it as the agent called to free our musical cultivation from certain dangers which lurk in the dominant instrumental tendency. Good instruments are not a universal possession, and bad instruments work mischief o popular hearing and taste. Instrumental music, moreover, seems to be entering a degenerate stage from which vocal music has

ONE steed I have of common clay,

And one no less than regal; By day I jog on old Saddlebags, By night I fly upon Eagle: To store, to market, to field, to mill, One plods with patient patter, Nor hears along the far-off heights The hoofs of his comrade clatter.

been rescued within the last half century,— that is, since the operatic scepter passed out of the hands of Italy. Brilliancy of technique is now the property of nearly every public performer, and instrumental music is being threatened by that decadence which all art history proves is the constant companion of "virtuosity." This is one danger from the evil influence of which the encouragement of singing societies can save us. Against another the tonic sol-fa teachers, acting in the spirit of Schumann's wise injunction, have interposed a splendid bulwark. They prohibit the use of the pianoforte in teaching. Thereby they prevent learning from degenerating into imitation, which, in its ultimate effects, discourages excursiveness of thought and activity of the imagination. Better still, they stimulate the pupil to exercise the faculties which are most actively called into play in the correct interpretation of music. Beautiful tone-production is the most essential and most individual process in music-making. This process pianoforte-playing reduces to a minimum. So far as pitch is concerned (a thing of primary care in vocal music), the pianoforte-player is relieved of all responsibility by the mechanism of his instrument. The tones answer to the touch of his fingers; he does not need to exercise his intelligence or his ear in the matter. The tonic sol-fa pupil, on the contrary, is compelled to cultivate acuteness of hearing and to study with great painstaking the emission of each tone. In the hands of the pupil who plays it, or imitates it in the study of tones and intervals, a pianoforte which is out of tune is an evil of frightful magnitude which holds the pupil in its grasp and either stunts or deforms his faculties. Over the instrument of the tonic sol-faist there stands a monitor who can both detect faults and remedy them.

H. E. Krehbiel.

To field, to market, to mill he goes,
Nor sees his comrade gleaming
Where he flies along the purple hills,

Nor the flame from his bridle streaming;
Sees not his track, nor the sparks of fire
So terribly flashing from it,

As they flashed from the track of Alborak When he bravely carried Mahomet.

THE

A Song in Camp.

HE article on the "Songs of the War," by Mr. Brander Matthews, in THE CENTURY MAGAZINE for August, brought back to my memory vividly an experience at Murfreesboro', just after the battle of Stone's River. There was a good deal of gloomy feeling there. The losses in the army had been terrible; and, besides, there were among the troops a large number of Kentucky and Tennessee regiments, to whom the Emancipation Proclamation was not palatable. A number of officers had resigned, or tendered resignations, on account of it. One day a whole batch of resignations came in, all written in the same handwriting and coming from one regiment, including nearly all the officers in it, assigning as a reason their unwillingness to serve longer in consequence of the change in the purpose and conduct of the war. The instigator of these letters was found, and dismissed with every mark of ignominy-his shoulder straps were cut off, and he was drummed out of camp. This heroic remedy caused the officers whom he had misled to withdraw their resignations; but the thing rankled. A few days afterward a glee club came down from Chicago, bringing with them the new song, "We'll rally round the flag, boys,"

and it ran through the camp like wildfire. The effect was little short of miraculous. It put as much spirit and cheer into the army as a victory. Day and night one could hear it by every camp fire and in every tent. I never shall forget how the men rolled out the line, "And although he may be poor, he shall never be a slave." I do not know whether Mr. Root knows what good work his song did for us there-but I hope so.

Henry Stone.

The Confederate Strength in the Atlanta Campaign. THE paper by General Joseph E. Johnston on the Atlanta campaign, in the August number of THE CENTURY MAGAZINE, asserts that on the 30th of April, 1864, the strength of the Confederate army was "37,652 infantry, 2812 artillery with 112 guns and 2392 cavalry," in all 42,856. The return of the army on file in the War Department signed by General Johnston and attested by his adjutant-general, for April 30th, 1864, shows its "present for duty " almost 53,000:

in the magazine he gives the footings of the column of "effective total." This, in all Confederate returns includes only sergeants, corporals, and private soldiers for duty. That the cavalry had an effective total of but 2392 with 8436 officers and men for duty is accounted for by the fact that a large number of horses were grazing in the rear because of the scarcity of forage at Dalton. They were brought to the front and the men became effective when Sherman's army began to advance. General Johnston's statement that his artillery comprised but 112 pieces is a manifest error, for the return plainly says 35 companies, 144 pieces

The battle of Resaca was fought on the 13th, 14th and 15th of May. Prior to that time, the Confederate army was reënforced by General Mercer's brigade of four Georgia regiments, which had been on garrison duty on the Atlantic coast. A footnote to the return of April 30th records that one of these regiments, the 63d Georgia, joined the army "since the report was made out," and that its effective total was 814. All of these regiments had full ranks; 2800 is a low estimate of their line-of-battle strength. Cantey's division, 2 brigades of infantry and 2 batteries, 5300 for duty, came from Mobile about the 7th of May and was sta tioned at Resaca. Loring's division, 3 infantry bri gades and 2 batteries, from General S. D. Lee's command, with 5145 for duty and a detachment of 550 from French's division, reached Resaca May 10th, 11th, and 12th. Meantime a regiment of the Georgia State line, estimated as six hundred strong, had been added to Hood's corps.

General Johnston had at Resaca at least 67,000 men for battle and 168 pieces of artillery. General Sherman had at most 104,000: † the odds against General Johnston when "the armies were actually in contact" were as 100 to 64, instead of "10 to 4," as stated in his ar ticle.

On the night of May 16th the Confederate army evacuated Resaca. On the following day, at Adairsville, it was reënforced by General W. H. Jackson's cavalry command, 4477 for duty, which was increased to 5120 by June 10th. On the 19th of May at Cassville the di vision of General French joined the army with 4174 effectives, exclusive of the detachment which was at Resaca. Another Georgia State line regiment, esti mated as 600, was added to Hood's corps, and Quarles's brigade, 2200 strong, came on the 26th of May at New Hope Church. A comparison of the return of April 30th with that of June 1oth shows an increase to the fighting strength of the army of 3399 from the return of men "absent with leave" in the corps of Hood, Hardee, Wheeler, and in the artillery. The return of May 20th is missing, but that of June 10th shows an increase since May 20th of 649" returned from desertion" and 799 "joined by enlistment."

For French's detachment, see General French's report of "effec tives when joined.'

"

† For Sherman's army at Resaca, add 5200 for cavalry joined between May 1st and 12th to his strength May 1st of 98,797