Abstract
The purpose of the study was to examine the teaching methods of Philip C. Hayden (1854–1925), an influential music educator during the early part of the twentieth century. Hayden is known for organizing the April 1907 meeting of music supervisors in Keokuk, Iowa, to demonstrate his teaching method that resulted in the formation of the Music Supervisors National Conference. He based his teaching on the premise that students should be educated in ear training before they are exposed to eye training. For this reason, he proposed teaching melodic concepts through the use of rhythm forms. The rhythm forms were based on frequently occurring tonal patterns paired with rudimentary rhythms.
The seven rhythm forms employed by Hayden were presented in a sequential manner and advanced from easier to more difficult as the students progressed through the grades. One fundamental idea in the study of the rhythm forms was the use of the beat as a unit. This differed from previously established methods that did not group rhythms into patterns as related to the beat. The tonal patterns paired with rhythm forms were taught through imitation, dictation, and improvisation. Only after the students had abundant experience with a specified rhythm form, using imitation, dictation, and creation, were they allowed to read them in printed music. Through the use of the rhythm forms, Hayden believed that, by the eighth grade, all students should develop understanding of all musical elements through reading and dictation.
Keywords
Instructional practices of early music educators often focused on traditional processes that had been used by past generations. Methods such as rote teaching and music reading drills were common in the late nineteenth-century music classroom. The implementation of these evolving teaching practices affected music teaching and the materials used for instruction. The need for resources as an aid to the classroom teacher brought about methods books and graded singing series books, which were written or compiled by several distinguished music educators of the period. This availability of new and ever-changing teaching methods and materials continued well into the twentieth century. Although there are numerous methods, books, and resources currently accessible to the modern music instructor, some novice teachers still struggle with the concepts and procedures of teaching music reading to students. 1 After more than 130 years using methods books and readers in music instruction in the public schools of the United States, no widely accepted or standardized method of teaching music reading has been adopted by music educators.
One such music reading method was developed by Philip Cady Hayden (1854–1925), a music supervisor and teacher from Keokuk, Iowa. Though his music reading method using rhythm forms 2 is no longer in use, the broad principles he considered important are still relevant today. 3
Hayden attended Oberlin College in Oberlin, Ohio, beginning in 1878 but did not graduate with a formal degree. He briefly taught music in Mt. Vernon, Ohio, and continued his career in Quincy, Illinois, where he taught voice and conducted a church chorus. He was appointed supervisor of music in the Quincy public schools in 1888 and later became supervisor of music in the Keokuk, Iowa, schools in the spring of 1900. While in Keokuk, Hayden published School Music (Monthly) and built the Keokuk music program. 4 He was the first elected President of the Music Supervisors National Conference (later the National Association for Music Education) and is widely considered an important music educator from the early part of the twentieth century.
Hayden is known for organizing an April 1907 meeting in Keokuk to demonstrate his teaching method that resulted in the formation of MSNC/NAfME. Existing research by Channon 5 and Hash 6 documents that important meeting and details the results and effects that came after. However, less is known about the other public demonstrations of Hayden’s teaching method, both before and after the 1907 meeting in Keokuk. These public teaching demonstrations, as well as Hayden’s role as editor and publisher of School Music Monthly and School Music, 7 provided him the platform to assume an identity as a national figure in music education and to promote and publicize his method.
This narrative study was intended to describe the music reading method developed by Hayden. In addition, the visibility and recognition brought to Hayden through the public demonstrations of his teaching method were detailed. Articles found in School Music Monthly and School Music, proceedings from national education and music education conferences, as well as other historical sources were examined. Findings from these sources provide a detailed description of the Hayden teaching method as well as a chronology of the public teaching demonstrations.
Research That Influenced Hayden
Inspired by new research in the field of psychology and musical perception, Philip C. Hayden became motivated to implement new methodologies which he deemed more pedagogically sound. Work done by Thaddeus Bolton, who held a PhD in psychology from Clark University in Worcester, Massachusetts, had a profound effect on Hayden. First published in 1893, Bolton’s experimental studies measured college-age students’ reactions to “clicks” produced at different speeds, intensities, and durations. 8 Findings from the study suggested that the mind had a profound effect on grouping the sounds that were presented. Bolton is credited with completing the first study dealing specifically with musical perception and with writing the first dissertation in the field of music education in 1895. 9 Hayden may have learned of Bolton’s work, as well as similar experimental efforts by other Clark University psychology students, from G. Stanley Hall—the founder of the American Psychological Association and The American Journal of Psychology. Hall spoke frequently on the programs of the National Education Association during the 1890s and early 1900s. 10
Evidence presented by Thaddeus Bolton, G. Stanley Hall, and others convinced Philip Hayden that music is perceived through the ear, though he gave credence to understanding the effect of music through the eye in combination with the ear. He believed that the lack of ear training in rhythm forms had been a major problem in elementary music teaching for years 11 and even admitted his own shortcomings in rhythmic ear training until the 1904–1905 school year. 12 Hayden based his music teaching on the premise that students should be educated in ear training before they are exposed to eye training.
Music Courses Pre-dating the Rhythm Forms
Editorial comments published by Hayden in School Music Monthly, and later in School Music, demonstrated his concern over teaching that was not based on sound pedagogy or psychology. 13 He also expressed concern over music teachers only teaching the way they were previously taught. Hayden viewed the use of old teaching methods, such as those found in the published music courses, as a mistake and challenged music educators to teach music as it “actually exists” and “according to the facts.” 14 These instructional resources, or published music courses, preceded Hayden’s rhythm forms. Some of these resources share common traits with the rhythm forms while others do not. The Manual of the Boston Academy of Music, first published in 1834 by Lowell Mason, separates rhythm and tonal work. However, the instructions state that the teacher could include both, albeit separately, in the same lesson. 15
The first graded music course widely used in the United States was compiled in 1870 by Luther Whiting Mason of Boston. His series entitled The National Music Course was a progressive plan for music instruction for use in all elementary grades. The course focused on rote singing and taught rhythm and melody together in complete musical phrases. 16 The National Music Course also incorporated the use of charts, musical ladders, and taught the measure as the unit. 17 Though the method was widespread and successful, Philip C. Hayden would later take exception to teaching methods like those of Luther Whiting Mason, which employed modulators, the measure as the unit, and the beating of time.
Hosea E. Holt’s method entitled The Normal Music Course was cowritten by John W. Tufts, Holt’s former instructor, and was intended for use by grade teachers. The Normal Music Course was first published in 1883 with subsequent editions published in 1886 and 1899 18 and taught rhythm and tonal patterns together. 19 This series, which included music readers and song books, was written in reaction to Mason’s National Music Course, which Holt felt had become a “rote singing” approach to music education. 20
Another course entitled Natural Course in Music, edited in 1895 by Frederick H. Ripley and Thomas Tapper, attempted to simplify the treatment of symbols and symbol representations to improve music reading from the staff. Teachers were instructed to teach scalar patterns as a song with rhythmic values to be explained later. The series then proceeds in combining rhythm and melody for music reading. Songs were taught by imitation only when children were too young to read the text. 21
Hayden briefly used First Steps in Music by George B. Loomis for early, simple music reading during his first year at Quincy, Illinois. This series introduced music reading on a one-line staff and added a line as the series progressed 22 and was the first series to teach music reading in a child developmental manner. 23 Hayden found the series to be unsuccessful and did not believe that first-graders should be required to learn music elements solely through reading. 24 The Natural Course in Music, the Modern Music Course, and The Hollis Dann Music Course were used in Hayden’s classrooms in Keokuk before he taught with the rhythm forms. 25
After using the resources above, he proposed teaching melodic concepts using rhythm forms. The rhythm forms, a term he used to describe his method, were based on frequently occurring tonal patterns paired with rudimentary rhythms. 26 Hayden’s approach to teaching sight singing resembled another method by prominent music educator Sterrie A. Weaver of Westfield, Massachusetts. Weaver is believed to have developed the first individual sight singing method in the United States 27 and taught rhythmic concepts using seven common rhythmic patterns or time motions, taught in sequence, 28 that were similar to Hayden’s rhythm forms. Though there are some differences in the methods used by Hayden and Weaver, the similarities are evident, leading one to question the origins of Hayden’s sight singing method.
The Rhythm Forms
The seven rhythm forms employed by Hayden were presented in a sequential manner and advanced from easier to more difficult as the students progressed through the grades. One fundamental idea in the study of the rhythm forms was the use of the beat as a unit. Hayden’s method differed from previously established methods by grouping rhythm into patterns as they related to the beat. This method also differed from previous music teaching by eliminating the tapping or clapping of the beat while students practiced rhythmic sets. Hayden believed that repeated practice would impart a sense of meter in the students’ minds without having to physically demonstrate the beat. 29 He believed that children did not have difficulty with various meters but with the different groupings of two or three within the beat. 30 The two-measure phrase was the longest unit used in imitation exercises. The students were to memorize the patterns as they were taught in sequence and in combination with previously learned patterns. 31
The process used in the presentation of the rhythm forms was rather simple. Through singing, the teacher would aurally present the rhythm form to the students who would then analyze, practice, and store the pattern in the mental ear. The students would reproduce the forms for the teacher and the process would then be repeated. 32 This process of imitation, dictation, and creation would begin on the first day of musical training which was in the first grade at the time Hayden taught in Keokuk, Iowa. The time devoted to singing songs and music reading was about twenty to thirty minutes per day. Hayden believed that a total of one hour thirty minutes per week was a reasonable amount of time to devote to sight reading to achieve the desired results. 33
The first rhythm form was characterized by the shortest tone having one beat and would be presented as two quarter notes followed by a half note (Figure 1). Hayden would present the tonal patterns, such as so-la-so or mi-re-do aurally to the students for imitation. One goal of the tonal pattern practice would be for Hayden to later speak the solfege names and the class to sing the solfege back to him with correct pitch and rhythm.
The First Rhythm Form.
Work in the first rhythm form would continue for the first year and a half of musical study. After the memorization of scale tones and extensive practice in the first rhythm form with these combinations, Hayden believed that students were prepared to sight read from a staff in the first rhythm form. After several months of aural drill and later sight reading using the first rhythm form, Hayden was careful to return to ear training often. He stated, “there should be a constant return to dictation work in order to insure a working familiarity with the tone relationships and the sol-fa names.” 34 The careful attention to tonal patterns found in the standard repertoire coupled with the specified rhythm work dominated much of Hayden’s class teaching.
The second rhythm form introduced two equal tones to one beat and was represented by two pairs of eighth notes followed by a half note (Figure 2). Students were instructed to constantly compare the second rhythm form with the first rhythm form, which they revisited frequently.
The Second Rhythm Form.
Work in the second rhythm form began in the middle of the second year or the third year. After the students were skilled, they were allowed to create their own tonal patterns in the second rhythm form. This exercise could have been extended to eight bars, sixteen bars, or more to further develop the creative process. Hayden said that this would help develop compositional skills, which was something he felt was lacking in school music. 35
The third rhythm form introduced the dotted rhythm or two unequal tones to two beats (Figure 3). This was characterized by a dotted quarter note followed by an eighth note and was presented in the fourth year of musical study. Hayden taught this form with the use of an accent or push on the second beat of the tied quarter note. He believed that this accent was needed for the inner ear to hear the longer duration. Scales and patterns of thirds were used when singing in the third rhythm form.
The Third Rhythm Form.
Hayden considered work in the third rhythm form to be exceedingly important by stating, “I don’t think there is any place where it is needed more to make a class sure of their rhythm work in singing at sight than in this practice of the beat and a half tone usually represented by dotted quarter notes.” 36 The result of work in the first three rhythm forms would be written dictation. By that time, Hayden knew that the students would have a basis or knowledge from which to draw for their dictation and that they would be familiar with the rhythm forms before they would have to write them.
The fourth rhythm form was similar to the third, but the dotted rhythm was only on one beat (Figure 4). This form was represented by the dotted eighth note followed by a sixteenth note and was offered in the fifth year. Students were asked to compare the fourth rhythm form to the third until they could successfully distinguish between them.
The Fourth Rhythm Form.
The fifth rhythm form introduced three tones to one beat, triplets, and compound meter. This form was also practiced in the fifth year and was presented in all combinations found in the two pulses of six-eight meter. These combinations would include the following: quarter note followed by eighth note, dotted quarter note, dotted quarter note tied to an eighth note followed by two eighth notes, and triplets (Figure 5). Tonal patterns were presented using the same process as previous forms and enabled students to become familiar with various patterns Hayden identified in six-eight meter melodies. 37
The Fifth Rhythm Form.
The sixth rhythm form introduced four tones to one beat (Figure 6). It was approached in the same manner as the fifth rhythm form and was taught using tonal combinations identified by Hayden. Practice in this form would occur during the sixth year.
The Sixth Rhythm Form.
The seventh rhythm form introduced syncopation, or what Hayden termed “irregular” rhythms. This form was characterized by the eighth note followed by a quarter note and another eighth note (Figure 7). By this time, Hayden felt that the students needed to be able to verbally describe this form and make a distinction between the other forms. 38
The Seventh Rhythm Form.
Hayden never published his rhythm form method in book format. The rhythm forms were disseminated through his articles written in School Music (Monthly) and through public demonstrations of the rhythm forms in use. It is possible that Hayden had plans to formally publish his method in book format. He even acknowledged that “many thousands of dollars are invested in school music books which embody the haphazard methods of the past.” 39 On at least two earlier occasions, he alluded to ownership of his method and explained to the readers of School Music Monthly that the articles and the methods therein were copyrighted. Hayden wanted his ideas to be used freely in the profession and his methods to be available for other supervisors’ use. Despite his willingness to share ideas, he maintained control of the materials used to teach the rhythm forms for his own profit. These materials would include melodic charts, staff drill paper, and rubber stamps used for music reading. He was opposed to anyone duplicating his materials for use in the implementation of the rhythm forms or any other copying of music materials he published. 40 This was clarified in order to receive potential benefits from the commercial use of the rhythm forms in books or print. 41
Early Demonstrations
The April 1907 demonstration of sight singing in rhythm forms by Philip Hayden’s students in Keokuk, Iowa, which resulted in the formation of the Music Supervisors National Conference, stands as a significant event in the history of music education. 42 It also continued a tradition of class demonstrations at state, regional, and national music conferences. 43 However, this was not the only opportunity for music supervisors to witness or critique Hayden’s teaching methods. Since Hayden was an active participant in professional organizations such as the National Education Association and various state teacher associations, he was afforded several opportunities to display his work in rhythm forms through demonstrations with his students.
Hayden gave a sight singing test to a group of seventh- and eighth-grade students at the Central Illinois Teachers’ Association meeting held in Quincy, Illinois, in 1899. The group of approximately thirty singers read one-, two-, and three-part exercises in several keys. Although this test was given before Hayden had begun to use rhythm forms in his classes, it was reported to have been satisfactory by Constance B. Smith in the April 1900 issue of School Music Monthly. 44 At the Iowa State Music Association Meeting in 1900 Hayden presented a paper entitled “A General Review of Methods from the Primary to the High School.” He also presented a paper on the topic of “Rhythm” at the Illinois State Music Association on December 27, 1900. 45
Work done by Hayden was also observed by visitors to the Keokuk school district. Music supervisors often visited other districts at the time. In the May 1901 issue of School Music Monthly, Harry C. Eldridge, an educator and publisher, reported of his visit to Keokuk classes. He pronounced the work done there as successful and praised Hayden. He said the children started learning scale tones through singing and reading them. This included third- and fourth-grade students reading from a course book and being drilled in scale exercises. Eldridge also stated that rhythm in Hayden’s classrooms was taught by feel. The students participated in dictation exercises and had to differentiate between double, triple, and compound meters. 46
Asbury Park, New Jersey: July 6, 1905
At the 1905 meeting of the Department of Music Education of the NEA, Hayden presented a demonstration of the rhythm forms with his son Van Brocklin Hayden. The demonstration was given in the afternoon on Thursday, July 6, at Asbury Park, New Jersey. To begin the presentation, Hayden stated his position on the use of rhythm forms and gave an outline of the method. He also showed examples of the seven rhythm forms in standard choral works. 47 As secretary of the Department of Music Education for that year, Hayden wrote this description of his own presentation.
Mr. Hayden’s demonstration of ear-training and rhythm work consisted of an informal talk in which he illustrated the principles of pedagogy as applied to music teaching.
48
The exhibition was received well by those in attendance. Hayden received a formal thank-you from the Department of Music Education in the form of a resolution printed in the minutes from the meeting.
Resolved, That the thanks of the Department of Music Education be extended to Secretary Hayden for his devotion to the interest of the Department of Music Education, and for his most excellent demonstration on the subject of ear-training and rhythm forms given Thursday afternoon.
49
Keokuk, Iowa: Fall 1906
In the fall of 1906, Philip Hayden invited supervisors from the surrounding area to Keokuk, Iowa, for a demonstration of his work in the rhythm forms. It is unclear how Hayden extended the invitation as one does not appear in School Music Monthly leading up to the fall of 1906. Elizabeth Pratt, a new teacher in Quincy, Illinois, at the time, attended. At the MSNC conference breakfast in honor of the founders in 1928, she recalled that the demonstration did not make an impression on her, even though she was an inexperienced teacher. She also remembered that Ms. Anna Allen of Peoria, Illinois, herself, and one other supervisor whom she could not recollect attended the presentation. 50
Keokuk, Iowa: April 11, 1907
The most widely known demonstration of the ear training through rhythm forms occurred on Thursday morning, April 11, 1907, in Keokuk, Iowa, and was received with mixed reviews. Hayden explained in a March 1907 article in School Music Monthly that the sole purpose of using his Keokuk classes for demonstration was to show the method of music training, regardless of the quality of teaching. Six classes participated, with the first-grade class first on the program. The first-grade students sang with solfege syllables in the first rhythm form, sang solfege syllables from a dictation on “la” syllables, and sang a final song.
The second-grade class was so large that Hayden left out the weakest singers as well as the older students retained in the second grade. The second-grade students sang intervals using solfege in the second rhythm form, sang solfege syllables from dictation on “la” syllables, and sang a final song.
After the second-grade demonstration, the fourth-grade class sight-read in the second rhythm form because the third-grade class was late arriving. Philip Hayden stated that he had been nervous because of the scheduling mistake and later apologized for the fourth-grade performance stating that they did not have time to acclimate to their surroundings. The third-grade class sang a previously learned melody and created another one upon their arrival.
The fifth-grade class sight-read from the New Educational Music Course. Hayden wrote that the class “made a positive failure in their reading” and reported that the leading voice from the class had been absent. The sixth-grade class had to read from the same book the fifth grade used because Hayden could not locate the sight-reading materials brought for them. He wrote that the sixth-grade did a “fair” job in their reading despite the fact that he could not locate a satisfactory piece for them to read.
After Hayden answered questions on the morning demonstration, the seventh-grade class demonstrated the singing of three-part songs and successfully sight-read syncopation in the afternoon. Combined sixth- and seventh-grade classes then sight-read songs with syllables and words. The following morning, the fifth-grade class sight-read again in the first, second, third, and fourth rhythm forms. Hayden felt that the class performed well with the rhythm work but did not sing beautifully. 51
Newspaper reports of the conference printed in the Daily Gate City and the Daily Constitution-Democrat represented the conference proceedings in a positive light. Brief descriptions of Hayden’s demonstrations in rhythm forms appeared in both local papers. The following account appeared in the Daily Constitution-Democrat.
This morning’s session of the school music supervisors’ conference was the most important one, and the time was taken up with a class demonstration by Professor Hayden in explaining his system of ear training in rhythm forms. His method of teaching school children the rudiments of music was an interesting one to those present, and his method made a deep impression upon the visitors. The greater part of the day was taken up with this part of the program which was of great interest to the supervisors and brought forth many comments from them.
52
Another account of the conference proceedings appeared in the Daily Gate City.
It seems to be the unanimous opinion of all supervisors present that this conference is the best ever and the most important ever held in the country for reasons which will come out later during the meeting. The chief features of the day were the class demonstrations by Philip C. Hayden in both the morning and afternoon sessions and the address in the evening by William B. Kinnear of Minneapolis, Kan., on the subject “Terminology.” In the morning the first six grades of the public schools were present and showed their ability at singing and reading by note and sight. In the afternoon the sixth grade and a special class were presented in a like manner to show the purpose to a greater extent. The drill as a whole was a success and proved of great profit to the visitors.
53
Several of the attendees were disappointed in the demonstration of the method or wanted Hayden to develop rhythm forms further. Frances Elliot Clark saw the demonstration and the resulting discussion from a unique position since she was the presiding chairman of the conference in the absence of Hamlin E. Cogswell. She stated, “The idea has failed to give any reason for its adoption.” 54 C. H. Congdon said, “I believe Mr. Hayden is on the right track. He has discovered the germ of an idea, but has not watered and nurtured it sufficiently.” 55 Myrtle F. Woodson of Greenfield, Indiana, supported Hayden and his work citing use of the rhythm forms in her own teaching. “Mr. Hayden is on the right track. I have given these rhythm forms a regular trial, and my faith in that work has not been shaken.” 56 Opposition to the rhythm forms was undoubtedly fueled by a number of factors. Those who did not know Hayden personally might not have been quick to defend the method as the demonstrations were not entirely successful. Perhaps some of the attendees had already invested in established books or song series for their music classrooms. More importantly, others, including C. A. Fullerton, C. H. Congdon, and Alys E. Bentley, sold or endorsed their own materials or methods which were often advertised in the pages of School Music Monthly. 57
Following the demonstration at the Keokuk conference, Hayden provided an explanation concerning his condition leading to the rhythm forms demonstration.
For two months before the Conference I had been in an extremely nervous condition, the result of overwork, and for two weeks preceding the Conference had been taking treatment from an osteopath in an effort to improve my condition. Probably most of my readers know what such a condition means. I should have had a month of complete rest beginning the month of February. Instead of rest, in addition to giving my regular lessons each week in the schools, I conducted an increasingly large correspondence promoting the success of the Conference, edited School Music Monthly and attended to a large business mail. I was doing this work when I should have been taking absolute rest, on account of an extremely nervous condition. I was in this condition when the first day of the Conference arrived.
58
Hayden stated that even before the demonstration he knew “the criticism would be fierce, in fact that certain parties had their knives out for me.” 59
In the May 1907 issue of School Music Monthly, he was quite apologetic about the circumstances regarding the class demonstrations. He noted that the classes were unfamiliar with the surroundings (the demonstrations were held in Westminster Presbyterian Church in Keokuk rather than at the school) and were not prepared for their tasks in front of other people. Hayden also addressed the scheduling error that had contributed to the disorder of the rhythm form demonstration. Though the demonstrations did not display the rhythm forms method in the light in which he had hoped, Hayden remained confident in the use of the rhythm forms and in his classes’ abilities by including printed examples of original compositions by sixth-grade students using rhythm forms in School Music Monthly. 60
Shortly after the Keokuk conference, a reporter from the Keokuk newspaper, Daily Gate City, asked Hayden for his general comments on the conference. Although the rhythm forms demonstrations were not as successful as Hayden would have hoped, he remained positive regarding the meeting.
There was the most representative and brilliant body of music supervisors ever gathered together in America and they met in utmost good fellowship and good will. They were too bright and too intelligent and too critical to all think alike on many topics, but they were most willing to give others credit for sincerity and intelligence while holding to their own individual opinions and theories.
61
Hayden was affected by the criticism received after the rhythm forms demonstration in Keokuk though there is no way of determining to what extent. He published an editorial column in the September 1907 issue of School Music Monthly that acknowledged music supervisors who were working for change in the profession.
In the small space remaining on this page I want to mention some of the men and women who bring to the solving of these school music problems, professional enthusiasm untainted with narrowness, jealousy or indifference: Charles I. Rice, Mrs. Frances E. Clark, Hamlin E. Cogswell, Julia E. Crane, T. P. Giddings, Caroline V. Smith, C. A. Fullerton, Frances A. Wright, Powell J. Fithian, Estelle Carpenter, E. B. Birge, Jessie L. Clark, Mrs. L. V. Sweezy. Such enthusiasts as these when pursuing a common end with united effort will wield an immense influence in promoting better practice in school music teaching.
62
Obviously missing from his list of supervisors were the harsh critics from the Keokuk conference. In his editorial comments, Hayden omitted three big names that were at the 1907 meeting. They were William B. Kinnear, C. H. Congdon, and A. J. Gantvoort. All had been critical of the demonstration and Hayden’s use of terms. Gantvoort was the harshest critic, citing Hayden’s use of the beat (instead of the measure) as a unit. 63
As the chairman who presided over the meeting at the Keokuk conference, Frances Elliot Clark was eager to witness Hayden’s work in rhythm forms. At the 1947 MENC Northwest Division convention in Seattle, Clark delivered an address entitled “The Fruits of the Spirit of Keokuk” to commemorate the fortieth anniversary of the conferences’ founding. Her recollection of the rhythm forms demonstration was not positive.
The presentation of the rhythmic idea proved a great disappointment; it was merely a device of numbered measure patterns or note values within the measure—some improvement on the old “Tä-Zä-Fä-Nä, Ta-Za-Fa-Na,” but still a pestiferous drill and time waster. Criticism ran riot during the noon recess. At the opening of the afternoon session the storm broke, the discussion waxed from mild approval to bitter denunciation. I have always feared that the gavel provided me made dents in the pulpit.
64
Clark gave another account of the Keokuk rhythm forms demonstration at the 1950 MENC conference held in St. Louis. This report, included in the article entitled “Fifty Years of Music Education in America,” was reprinted in the April–May 1950 issue of the Music Educators Journal.
Through inherent weakness and various mishaps, the rhythmic idea which we had come so far to hear failed lamentably. The noon hour brought a turmoil of dismay. The afternoon, which had been scheduled for discussion, began with expressions of bitter disappointment—with slips into caustic criticism which, ethically, had to be stopped immediately. I fear my gavel wore holes in the pulpit. But in a very few minutes we had regained our poise and innate feelings of camaraderie.
65
Edward Bailey Birge also attended the meeting in Keokuk and later described the rhythm forms demonstration in his book History of Public School Music in the United States by stating,
It was evident that the children had been well drilled on the rhythm-forms, but that practice in reading actual music had received scant attention, and perhaps had been purposely neglected, because Mr. Hayden was honestly trying to prove that a good working knowledge of rhythm-forms involving the ordinary melodic idioms of music would enable the child to successfully attack the printed page.
66
Los Angeles, California: July 11, 1907
Philip Hayden gave a demonstration of the rhythm forms on the afternoon of Thursday, July 11, 1907, at the annual meeting of the Department of Music Education of the NEA in Los Angeles. This impromptu presentation, held during the third session of the conference, was given due to the absence of two papers to be read. Ms. Elizabeth Warwick, a Hayden pupil from Keokuk, assisted in the demonstration. 67
Hayden biographer, Chester N. Channon, interviewed Mrs. Elizabeth Warwick Dayton about her experience at this conference in 1956. Channon stated, “She recalled how nervous she was, but that Mr. Hayden was very calm; and that Hayden was most upset because there was no time for questions from the floor at the close of the demonstration.” 68
Des Moines, Iowa: January 1, 1908
The annual Iowa State Music Teachers’ Association meeting held on January 1–2, 1908, in Des Moines, Iowa, provided Philip Hayden another opportunity to display his work in rhythm forms. An article in the November 1907 issue of School Music Monthly, presumably written by Hayden, previewed the upcoming session.
“The Ear and Eye in Music Education,” P. C. Hayden, Keokuk, Iowa; illustrated by class of children. Two afternoons will be devoted to these papers [Hayden’s and others’] and their discussion, and to the demonstration of ear training and original work conducted by Mr. Hayden. Mr. Hayden will use his class to sing and practice all the elements of tone and rhythm, without using notes, ladders or any other symbols, and without having the class beat time, closing this ear training exercise with the composition of melodies to suit verses supplied to the children at the time.
69
Hayden was assisted by a Keokuk class in this demonstration.
William Solomon, Director of Supervisors of Music at Drake University and President of the Iowa State Music Teachers’ Association, gave a favorable report of the demonstration in the January 1908 issue of School Music. He was so impressed with the display that he requested his letter be published in the January issue.
Dear Mr. Hayden: Since no action was taken by the members of the section, giving testimony of the excellence of the work done by your class, I wish you would print the following comments as a part of your report of the music section of the Iowa State Teachers’ Association. I know the readers of School Music will be anxious to know the impression made by the Keokuk class in Des Moines. The following account of their performance expresses not only my own judgment in the matter, but is also the repetition of expressions I heard from all who expressed themselves regarding their singing. Two songs they sang with piano and violin accompaniment were rendered with a beautiful quality of tone. We seldom hear so good a tone from school children. The demonstration they have of their familiarity with the chromatic and minor scales and the ease with which they are practiced when put in rhythm gave a most convincing evidence of the value of tone work in rhythm, and the composition of an original melody for words with which they were entirely unfamiliar showed how easily rhythm suggests the melody when the children are made familiar with the different varieties of rhythm from free use of it. Still more satisfactory was the work done in sight-reading. The music used by the class was in my hands until the time came to use it and had never been seen either by the class or by the teacher. Six pages of it were entirely new; two two-part songs and four three-part songs and all of these songs were read at sight with evident knowledge of the rhythm and with only a few trifling errors. The significant thing about this sight-reading was that they received no help whatever from the teacher except that he sounded the key note on the pitch pipe. The instant the key note was sounded the children took the chord and started the selection, the leader simply saying “Sing;” the movement or rhythm of each selection seeming to lie in the minds of the children, as neither they nor their leader beat time. The demonstration was certainly a success from beginning to end, and proved that the children understood rhythm and notation thoroughly. Mr. Hayden deserves much credit for such work. I believe all supervisors of music present will agree that it was the best demonstration in music ever given in Iowa. . . .
Prior to this Des Moines meeting in 1908, Hayden wrote of the upcoming rhythm forms demonstration in the January 1908 School Music. In the article, he references an earlier rhythm forms demonstration from the 1903 Iowa State Teachers’ Association. He states, “For the fourth time in four years I am appearing before a group of supervisors for the discussion of ear-training in rhythm forms, and with the demonstration of such training.” 71 He later provides an additional reference to that demonstration by writing, “The only positive comments which came to my ears four years ago here in Des Moines. . . .” 72
Hayden is listed on the program of the 1903 Iowa State Teachers’ Association. The title of the paper, “Music in the High Schools—Materials, Course of Study, Credits, Examinations of Voices,” contains four topics of discussion and credits four authors or presenters of the topics. Hayden’s name is listed first, presumably attributing the “Materials” topic to him. 73 However, no account of this demonstration is given other than Hayden’s recollection of the comments he received from those in attendance that day. There is no mention of the demonstration before the meeting or a report on the demonstration after the meeting as was customary in the pages of School Music. The majority of the articles and reports found in School Music immediately prior to this “missing” 1903 demonstration were on the topic of the 1903 NEA meeting in Boston, which included a sight-singing demonstration by students of Sterrie A. Weaver, music supervisor at Torrington, Connecticut.
Indianapolis, Indiana: May 6, 1909
At the second supervisors’ conference held in Indianapolis, Indiana, on May 6, Philip Hayden presented a paper entitled “Rhythm and Beating Time.” After the paper was read, Hayden gave a demonstration of work in rhythm forms accompanied by Jewett Fulton, a student from Keokuk. Fulton began by singing an exercise in the first rhythm form. He then sang an ascending and descending chromatic scale. Finally, Fulton sang numerous exercises in the first five rhythm forms. 74
Since the supervisors’ conference did not publish official proceedings from the meetings until 1910, the minutes of the meeting appeared in the May 1909 issue of School Music. The report of the demonstration stated,
This work was extremely successful, as Jewett did, without any hesitation, all that he was asked to do. He did not do quite as well when requested to sing from the notes an exercise written on the board, stumbling several times in his work. . . . It is impossible to give a fair conception of this work in the space at the disposal of the writer. It is only fair to say that Mr. Hayden, by means of the illustrations given by the young man, established the point he was making—that rhythm can be most successfully taught by imitation, and that it may be made absolutely a matter of thought and mental action—the same as any other form of knowledge.
75
Influence of Hayden’s Life and Work
While Philip C. Hayden is often remembered as one of the founders of the Music Supervisors National Conference, his legacy also includes a significant influence on reform in music education. Hayden was an advocate of ear training and music reading instruction in the elementary grades. Even though his specific methods were not adapted by music supervisors as a standard practice, he became part of a movement in music education that emphasized music reading through a child-developmental approach.
Hayden believed that music supervisors should emphasize music reading and teach it in a pedagogically sound manner. In a March 1913 School Music editorial column, he stated, “the most vital question before American supervisors today is this question of sight reading, and a solution of the difficulties connected with its study in the schools.” 76
Though numerous music educators shared Hayden’s ideas on music reading, the issue was not addressed later by supervisors as frequently as it had been in the early 1900s. In a November 1917 editorial column, Hayden stated that the topic of music reading had not been discussed in a long time and he felt it was time to revisit it. Hayden believed that a progressive, sequential elementary music curriculum that included sight reading was vital to a student’s overall musical experience. He said that success in music “should be partly measured by the ability the seventh and eighth grade children have to think how music sounds when looking at a printed page.” 77 By 1919, Hayden was still not satisfied with discussions on the issue at national conferences and in music journals. In his recurring School Music editorial column, Hayden referenced an article in the same January 1919 issue of School Music by A. E. French entitled, “The Pedagogy of Music Reading,” to create interest and continue discussion on music reading. In the article, French determined that there were certain physical and mental processes that contributed to a successful teaching method. 78 Hayden remarked that subsequent articles by French would further explain the theory and his belief that schools should allow for more music study time so children could learn to sight read. Hayden hoped that the articles would spark a new discussion about improving music reading instruction. 79
Hayden was not alone in thinking that other music supervisors did not consider music reading an important aspect of their teaching. Thaddeus P. Giddings, instructor of public school music at McPhail College of Music in Minneapolis, Minnesota, and music instructor at numerous high profile summer schools, thought that music teachers of the time were not achieving true success in the music classroom. He advocated the learning of rhythm and intervals by singing them and using them, not by drill alone. Giddings also felt that students must have a well-trained eye and should be taught to read music. Because Giddings believed that these elements of the elementary music curriculum were often omitted in many classrooms, he wrote an article attempting to show supervisors the errors of their ways. This article entitled “I Told You So” appeared in the May–June 1923 issue of School Music. In the commentary, Giddings reiterated that music reading and sight reading are the most important aspects of music study. He thought that achievement in music reading affected students’ musical progress as they move through the grades in junior high and high school. Consequently, this lack of music reading ability would adversely affect the quality of ensembles in secondary schools. 80
Standardization of Music Reading
The issue of standardizing the school music curriculum as well as standardizing teacher training curriculum was widely discussed by music supervisors in the early 1900s. As a leader in the field of music education and an active member of national committees, Philip Hayden took an active role in shaping the curriculum. At the 1903 meeting of the Department of Music Education of the NEA in Boston, Hayden suggested that a committee of ten look into a standardized music course for elementary grades. His motion was overturned in favor of the selected committee reporting on favorable musical outcomes to be found in the elementary grades. 81
Over the next few years, Hayden continued to emphasize the significance of music reading in his classrooms through demonstrations and in print. In a March 1910 editorial column, Hayden spoke of an interest by supervisors in standardizing the teaching of sight reading. He placed the study of sight reading above issues such as the treatment of the child’s voice, which were discussed by other supervisors of the time. 82
Hayden knew that the methods of teaching school music were changing. He saw the older teaching traditions being approved by supervisors he considered to be ultra conservative. In the pages of School Music, Hayden encouraged music teachers to “Keep an open mind and maintain an attitude of independent thought. The methods you were taught are just as apt to be wrong as right.” 83 After years of using the rhythm forms and through the knowledge of scientific findings related to music perception, Hayden was thoroughly convinced that music reading needed to be standardized. Several articles and editorial columns in School Music from November 1910 to May 1911 contained his opinions on the issue.
Hayden believed that a standardized method of music teaching would never come from “convictions” and “opinions” of other supervisors but only from the facts of music learning. These facts of music came from his belief that music is initially perceived in the ear. He also said that standardization would not occur until conservative supervisors adopted new principles of teaching. Hayden knew that methods could not be standardized in public schools unless they were supported by all supervisors. In a January 1911 School Music editorial column, Hayden stated, “It [standardization] can only be established by throwing over all the poor psychology and the worst pedagogy of the old teachers.”
84
In a March 1911 School Music editorial column, he said that no standardized methods would be adopted until supervisors agreed that “tone and rhythm should never be separated but that all tones the children sing should be in the form of melodic phrases.”
85
In the May 1911 issue of School Music, he spoke of supervisors still using the old scale method of tonal learning by stating,
There may be a considerable number of those who hold these convictions, but it is certainly a diminishing number, and must be a diminishing number, as the principle that tones should always be taught in rhythm is a vitally important one, and will win because it is right.
86
In the same May 1911 School Music issue, Hayden referenced the 1911 meeting of the Music Supervisors National Conference in Detroit. At this meeting, a resolution was offered, possibly by Hayden, on the standardization of music teaching. The motion included the statement that tones should be taught in rhythm. The resolution was voted down by those present. 87
At the 1915 supervisors’ conference held in Pittsburgh, Karl W. Gehrkens offered a speech that included comments on the end result of the supervisors’ attention to sight reading. Gehrkens and the other supervisors who participated in the discussion concluded that sight reading would not be stressed in favor of teaching the art, aesthetics, and enjoyment of music. 88 In a 1932 Music Supervisors’ Journal article, Edward Bailey Birge recalled this speech “marks the time when the details of method in teaching sight singing ceased to interest the Conference.” 89
A report by the Educational Council at the 1921 meeting of the Music Supervisors National Conference was a major event marking the importance of music reading in the classroom. 90 This report, called “A Standard Course in Music,” outlined aims, materials, procedures. and attainments that were recommended for use in the elementary grades through grade eight. Topics included in the standard course were ear training and sight reading, singing songs and use of the voice, part singing, music appreciation, and tonal and rhythmic learning.
Sight reading was a key component in the standard course of study. The five-member committee included this general statement in the 1921 report concerning sight reading.
Every child shall have acquired the ability to sing at sight, using words, a unison song of hymn-tune grade; or using syllables, a two-part song of hymn-tune grade, and the easiest three-part songs; these to be in any key; to include any of the measures and rhythms in ordinary use; to contain any accidental signs and tones easily introduced.
91
Procedures related to sight reading and ear training were listed by grade level in the committee report.
First grade The teaching of syllables as desired
Second grade To use the staff in practicing or preparing for sight-singing. Ear training for the development of tonal and rhythmic thinking.
Third grade Systematic practice in sight singing. Ear-training for the development of tonal and rhythmic thinking.
Fourth grade Ear-training for the further development of tonal and rhythmic thinking involving both old and new problems.
Fifth grade Ear-training for the further development of tonal and rhythmic thinking involving both old and new problems. Systematic attention to be given to singing words at sight, when the songs contain nothing but quite familiar technical features.
Sixth grade Ear-training for the further development of tonal and rhythmic thinking involving both old and new problems. Systematic attention to be given to singing words at sight when the songs contain nothing but quite familiar technical features.
Seventh and Eighth grade Continued practice in sight-singing. Singing words at sight. Syllables to be used only when necessary.
92
Hayden and other supervisors who supported music reading undoubtedly approved of this standard course of study. The report from the Educational Council was reprinted in the November 1921 and January 1922 issues of School Music and in a September–October 1922 School Music editorial column, Hayden stated his support of the newly adopted standard course of study. 93 Hayden’s experience and knowledge of the research in musical perception solidified his opinion that his teaching method were correct. Perhaps this provided not only the motivation to continue fighting for a standard music reading curriculum but also the incentive to potentially capitalize on the materials he could market related to his own method.
Hayden Remembered
Philip Hayden’s influence on the field of music education can be traced through his students, his contemporaries, and in the national organization he helped to form. After his death in 1925, many people remembered Hayden and his work fondly.
The Daily Gate City, the local newspaper in Keokuk, included a story on Hayden the day of his death. The paper referred to Hayden as “Professor Hayden” as he was called by all within the Keokuk schools and community.
Prof. Hayden was known not only in Keokuk and in the states of Iowa and Illinois where he was prominent in music teaching circles, but was a national figure. He founded “School Music” which has been considered from the first as the leading organ in the field of school music in this country. No other one person ever did as much to establish music in the public schools of the country as did Prof. Hayden, and the wonderful strides which music in the schools has made in the last few years is due almost entirely to his efforts in pioneering the field. . . . Possessed of a splendid personality, Prof. Hayden made friends and kept them. He was loved and respected by every pupil in the schools, and his integrity and uprightness in his daily life, and his dealings with his fellow men have been such as to commend the highest mark of respect from all with whom he came in contact.
94
At the 1926 meeting of the Music Supervisors National Conference, Hayden was honored by two men. William B. Kinnear, an attendee at the original Keokuk conference, spoke of Hayden by saying,
To endure the narrow and almost vicious criticism at that first meeting, and yet keep sweet and loyal to the cause in the direction taken by events, revealed a character that challenges admiration, and deserves to be held in appreciative remembrance by his companions in service.
95
Karl W. Gehrkens, prominent professor at Oberlin Conservatory, remembered Hayden as “a pioneer, an experimenter. He was willing to try a thing even though it had never been done before.” 96
At the 1928 meeting of the Music Supervisors National Conference, a breakfast was held in honor of the founders. During this breakfast, many attendees of the original Keokuk meeting spoke fondly of Hayden. C. A. Fullerton, original member of the conference and former conference president, wrote a poem about the founding of the conference. This poem included three stanzas dedicated to the memory of Philip Hayden and his legacy as a music educator.
Now P. C. Hayden of Keokuk Was one of the men of that day . . . Who knew the traditional methods were wrong And was trying out some other way. When I think of the vigorous campaign he waged, I look back upon it with pride. He stuck to the method of cut and dried On which science has always relied. And whether he won, or whether he lost, For this I honor his name, He tried out his scheme with the children themselves, And took the results that came.
97
Edwin W. Lantz, a former pupil of Hayden in Keokuk, Iowa, recalled memories of his teacher in a 1957 article in Music Educators Journal. He remembered the “excellence of the work” done by Hayden in the music classes. Lantz also described Hayden as a “pioneer” in the field of music education. 98
Conclusion
Throughout his career, Philip C. Hayden continued to influence students and fellow music educators through his public demonstrations, service to the profession of music education, and classroom teaching using rhythm forms. Though music teachers did not continue to use his specific method, Hayden affected music education through his constant advocacy toward effective teaching and music reading. Evidenced by the quotes of his peers in remembering his work, Hayden was described as a dedicated leader and visionary.
Hayden’s rhythm forms did not completely differ from other teaching methods prior. Likewise, many of the current methodologies share some of the key ideas. Two of the major tenets of Hayden’s teaching, ear training before eye training and the sequencing of concepts, are common in modern music classrooms. 99 Another fundamental idea in the study of the rhythm forms was the use of the beat as a unit. Hayden’s method differed from previously established methods by grouping rhythm into patterns as they related to the beat. In the Kodály approach, elements of ear training, sequential melodic and rhythmic concepts, and presentation of new rhythmic concepts related to the beat (quarter note) are essential. The Kodály approach also extracts the patterns for teaching from the selected repertoire. Similarly, Hayden chose the frequently occurring tonal patterns coupled with the rudimentary rhythms commonly found in children’s song repertoire. Since Hayden felt that tonality had consistent characteristics that could be varied, he would incorporate the common tonal patterns into rhythm form practice at various pitch levels. 100 One fundamental difference between Hayden’s rhythm forms and modern methods is Hayden’s combination of rhythmic and tonal learning. Conversely, Kodály and Gordon teachers separate rhythmic and melodic concepts at first before combining them later in music reading practice. The foremost goal of training an educated music reader was important to Hayden and is still stressed by teachers using the Kodály approach. 101
Hayden’s contributions to music education continue to be seen as music educators strive to find the best pedagogical methods to implement in the music classroom. Further research should examine the teaching philosophies and methods of other pioneering music educators from this era. Biographies currently available on Frances Elliot Clark, Sterrie Weaver, and George Oscar Bowen provide information on the lives and careers of these significant figures in music education. Other key contributors to the academic field of music education in the early 1900s should be studied as well. Current researchers and teachers could also implement Hayden’s rhythm forms to see if the method still works in modern classrooms. Information gathered would offer a greater understanding of the state of music education in the past as well as a connection to current issues in the field.
Footnotes
Declaration of Conflicting Interests
The author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author received no financial support for the research, authorship, and/or publication of this article.
1
Helga Rut Gudmundsdottir, “Advances in Music-Reading Research,” Music Education Research Vol. 12 Issue 4 (December 2010): 331.
2
Philip C. Hayden, “The Demonstration of Ear Training in Rhythm Forms,” School Music Monthly 8, no. 34 (March 1907): 7.
3
Hayden employed concepts such as ear training before eye training, sequencing of rhythmic and melodic patterns, deriving the rhythmic and melodic patterns from common children’s song repertoire, and using the beat as the unit instead of the measure. Current methodologies, such as Kodály, Orff, and Gordon/Music Learning Theory, use many of these same principles.
4
Chester N. Channon, “The Contributions of Philip Cady Hayden to Music Education in the United States,” Ed.D. diss., University of Michigan, Ann Arbor, 1958, 3–12.
5
Channon, “The Contributions of Philip Cady Hayden.”
6
Phillip M. Hash, “Philip Cady Hayden and the Formation of Music Educators National Conference,” Contributions to Music Education 31, no. 1 (2004).
7
School Music Monthly was first published by Hayden in April 1900 in Quincy, Illinois. School Music, a separate magazine, was published by Helen Place in Indianapolis, Indiana. The two magazines merged beginning with the January 1902 issue of School Music Monthly. Hayden officially changed the name of School Music Monthly to School Music beginning with the January 1908 issue.
8
Thaddeus L. Bolton, “On the Discrimination of Groups of Rapid Clicks,” The American Journal of Psychology V (April 1893): 308.
9
Jere T. Humphreys, “Thaddeus Bolton and the First Dissertation in Music Education,” Journal of Research in Music Education 38, no. 2 (Summer 1990): 138.
10
Michael L. Mark and Charles L. Gary, A History of American Music Education, 2d ed. (Reston, VA: MENC, 1999), 208.
11
Hayden, “The Demonstration of Ear Training in Rhythm Forms,” 11.
12
Philip C. Hayden, “Ear Training in Rhythm Forms—Part II,” School Music Monthly 6, no. 24 (March 1905): 5–6.
13
Philip C. Hayden, Untitled editorial comments, School Music Monthly 6, no. 23 (January 1905): 18–19.
14
Philip C. Hayden, Untitled editorial comments, School Music Monthly 9, no. 40 (May 1908): 18.
15
Lowell Mason, Manual of the Boston Academy of Music (Boston: Carter, Hendee & Co., 1834), 24–25, PDF e-book.
16
Luther Whiting Mason, The National Music Teacher (Boston: Ginn and Co., 1894), 12, PDF e-book.
17
Luther Whiting Mason, First Music Reader (Boston: Ginn and Heath, 1879), 1–2, 7, PDF e-book.
18
John W. Tufts and H. E. Holt, The Normal Music Course Second Reader, New Edition (New York: Silver Burdett and Co., 1899), PDF e-book.
19
John W. Tufts and H. E. Holt, The Normal Music Course First Reader (Boston: Silver, Rogers and Co., 1886), PDF e-book.
20
Edward Bailey Birge, History of Public School Music in the United States (Reston, VA: MENC, 1966), 116–19.
21
Frederic H. Ripley and Thomas Tapper, Natural Course in Music—The Music Primer (New York: American Book Company, 1895), 5.
22
Robert W. John, “Nineteenth Century Graded Vocal Series,” Journal of Research in Music Education 2, no. 2 (Autumn 1954): 106.
23
Martha Chrisman Riley, “Portrait of a Nineteenth-Century School Music Program,” Journal of Research in Music Education 38, no. 2 (Summer 1990): 84.
24
Philip C. Hayden, “Teaching Music Reading in the Public Schools—An Open Discussion,” School Music 19, no. 89 (March 1918): 10.
25
“Music Course Is to Be Changed,” (Keokuk, Iowa) Daily Gate City, September 8, 1906, 5; The Hollis Dann Music Course advertisement, School Music 23, no. 111 (September–October 1922): 31.
26
Philip C. Hayden, “The Place of Rhythm in Classifying and Teaching the Elements of Music,” School Music Monthly 7, no. 28 (January 1906): 11.
27
Alan L. Spurgeon, “George Oscar Bowen: His Career and Contributions to Music Education” (Ph.D. diss., University of Oklahoma, 1990), 13.
28
Sterrie Weaver, Individual Sight-Singing Method (Boston: Ginn and Co., 1898–1900).
29
Hayden, “Ear Training—Part II,” 8; Philip C. Hayden, “About Beating Time Answer,” School Music 12, no. 53 (January 1911): 21.
30
Philip C. Hayden, “The Place of Rhythm in Classifying and Teaching the Elements of Music,” School Music Monthly 7, no. 28 (January 1906): 24; Philip C. Hayden, “The Ear and the Eye in Music Education,” School Music Monthly 7, no. 38 (January 1908): 23.
31
Philip C. Hayden, “Random Remarks: Some Convictions,” School Music Monthly 7, no. 32 (November 1906): 30.
32
Hayden, “Ear Training in Rhythm Forms—Part II,” 6; Hayden, “The Ear and the Eye,” 23–24.
33
Philip C. Hayden, Untitled editorial comments, School Music 13, no. 63 (January 1913): 18.
34
Hayden, “Ear Training—Part II,” 9.
35
Hayden, “Ear Training—Part II,” 10.
36
Ibid., 10.
37
Philip C. Hayden, “Ear Training in Rhythm Forms—Part III,” School Music Monthly 6, no. 25 (May 1905): 14.
38
Hayden, “Ear Training—Part III,” 14.
39
Philip C. Hayden, “The Standard Method,” School Music 12, no. 53 (January 1911): 47.
40
Philip C. Hayden, Untitled editorial comments, School Music Monthly 6, no. 27 (November 1905): 19.
41
Philip C. Hayden, Untitled editorial comments, School Music Monthly 8, no. 34 (March 1907): 19.
42
Hash, “Philip Cady Hayden” and Marie McCarthy “MENC in International Perspective,” Music Educators Journal 94, no. 1 (September 2007): 42.
43
The first recorded class demonstration at a Department of Music Education of the NEA meeting was by Hosea E. Holt at the 1885 meeting in Saratoga Springs, New York. Subsequent class teaching demonstrations, not including musical performances, were presented at NEA meetings in 1887, 1888, 1890–1892, 1895, 1897, 1899, 1903–1905, 1908–1910, and beyond. Each demonstration is referenced in the Department of Music Education, Secretaries Minutes, in the Journal of Proceedings and Addresses of the National Education Association, for each of those years. Demonstrations from state associations are mentioned in Michael L. Mark and Charles L. Gary, A History of American Music Education, 3rd ed. (Lanham, MD: Rowman & Littlefield Education, 2007), 240.
44
Constance B. Smith, “Condition of Music in the Schools as Shown by Some Public Exhibition Work by Classes from the Schools: at Quincy, IL,” School Music Monthly 1, no. 1 (April 1900): 20.
45
“State Association Music Sections: Programs Received-Interesting Papers and Discussions,” School Music Monthly 2, no. 3 (January 1901): 26.
46
Harry C. Eldridge, “Mr. Harry C. Eldridge Writes of a Visit to the Keokuk Schools—Programs of Concerts Recently Given There,” School Music Monthly 2, no. 5 (May 1901): 8.
47
Philip C. Hayden, “Twenty-Second Annual Meeting of the Department of Music Education of the N. E. A. at Asbury Park and Ocean Grove, July 2–7, 1905,” School Music Monthly 6, no. 26 (September 1905): 8–9.
48
“Department of Music Education, Secretaries Minutes,” in Journal of Proceedings and Addresses of the National Education Association, Winona, MN: National Education Association, 1905, 628.
49
Ibid., 629.
50
“Conference Breakfast in Honor of the Founders,” in Journal of Proceedings of the Twenty-First Annual Meeting of the Music Supervisors National Conference 1928, Chapel Hill, NC: MSNC, 1928, 162.
51
Philip C. Hayden, “The Music Supervisors’ Conference at Keokuk, Iowa, April 10 to 12, 1907: Attendance Large, Enthusiasm Great and Permanent Organization Affected. Full Report of the Nine Sessions,” School Music Monthly 8, no. 34 (May 1907): 15–17, 20–26.
52
“From All Over the Country: Music Supervisors Attending the Conference Here,” (Keokuk, Iowa) Daily Constitution-Democrat, April 11, 1907, 8.
53
“Conference Said to be Best Ever,” (Keokuk, Iowa) Daily Gate City, April 12, 1907, 5.
54
Hayden, “The Music Supervisors’ Conference at Keokuk, Iowa,” 24.
55
Ibid., 23.
56
Ibid.
57
Advertisements for books and materials sold by these educators are found in School Music Monthly in the January 1903 and March 1907 issues.
58
Philip C. Hayden, “Some Facts About the Demonstration in Rhythm Forms,” School Music Monthly, 8, no. 34 (May 1907): 38.
59
Ibid., 39.
60
Ibid., 38–42.
61
“About the House That Jack Built: Mr. P. C. Hayden Gratified at the Success of the Production, as Well as the Results of the Conference,” (Keokuk, Iowa) Daily Gate City, April 14, 1907, 2.
62
Philip C. Hayden, Untitled editorial comments, School Music Monthly 8, no. 35 (September 1907): 19.
63
Hayden, “The Music Supervisors’ Conference at Keokuk, Iowa,” 20–21.
64
Frances Elliot Clark, “The Fruits of the ‘Spirit of Keokuk,’” Music Educators Journal 33, no. 6 (June 1947): 26.
65
Frances Elliot Clark, “Fifty Years of Music Education in America,” Music Educators Journal 36 (April-May 1950): 23.
66
Birge, History of Public School Music, 247.
67
Department of Music Education, Secretaries Minutes, in Journal of Proceedings and Addresses of the National Education Association (Winona, MN: National Education Association, 1907), 849.
68
Statement by Elizabeth Warwick Dayton, a former pupil of Hayden in the Keokuk schools, in personal interview with Channon, August 2, 1956, in Channon, “The Contributions of Philip Cady Hayden,” 76.
69
“Music Teachers’ Section, Iowa Association,” School Music Monthly 8, no. 36 (November 1907): 32.
70
William Solomon, “Iowa Association,” School Music 9, no. 38 (January 1908): 40, 42.
71
Philip C. Hayden, “The Ear and the Eye in Music Education,” School Music 9, no. 38 (January 1908): 17.
72
Ibid., 21.
73
“Music Teachers’ Round Table,” in Proceedings of the Forty-Ninth Annual Session of the Iowa State Teachers’ Association, Des Moines: Iowa State Teachers’ Association, 1904, 174. Hayden is listed first of the four presenters for this paper. Other presenters were C.A. Fullerton, Cedar Falls; Margaret L. Weber, Des Moines; and Mr. Coburn, Boone. The presentation was scheduled for Tuesday, December, 29, 1903, at 2:00
74
“Mr. Hayden’s Paper,” School Music 10, no. 45 (May 1909): 50.
75
Ibid., 50, 52.
76
Philip C. Hayden, Untitled editorial comments, School Music 14, no. 64 (March 1913): 17.
77
Philip C. Hayden, Untitled editorial comments, School Music 18, no. 87 (November 1917): 18.
78
A.E. French, “The Pedagogy of Music Reading,” School Music 19, no. 93 (January 1919): 8–10.
79
Philip C. Hayden, Untitled editorial comments, School Music 19, no. 93 (January 1919): 19.
80
T. P. Giddings, “I Told You So,” School Music 24, no. 115 (May-June 1923): 30.
81
Department of Music Education, Secretaries Minutes, in Journal of Proceedings and Addresses of the National Education Association, Winona, MN: National Education Association, 1903, 683–685.
82
Philip C. Hayden, Untitled editorial comments, School Music 11, no. 49 (March 1910): 18.
83
Philip C. Hayden, Untitled editorial comments, School Music 11, no. 52 (November 1910): 18.
84
Philip C. Hayden, Untitled editorial comments, School Music 12, no. 53 (January 1911): 19.
85
Philip C. Hayden, Untitled editorial comments, School Music 12, no. 54 (March 1911): 19.
86
Philip C. Hayden, Untitled editorial comments, School Music 12, no. 55 (May 1911): 19.
87
“Music Supervisors National Conference: Large Attendance at Detroit. Story of the Meeting,” School Music 12, no. 55 (May 1911): 6; Hayden, editorial comments, May 1911, 19.
88
Karl W. Gehrkens, “Ultimate Ends in Public School Music Teaching,” in Journal of Proceedings of the Eighth Annual Meeting of the Music Supervisors National Conference, MSNC, 1915, 76.
89
Edward B. Birge, “The Music Supervisors National Conference,” Music Supervisors Journal 18, no. 4 (March 1932): 20.
90
Members of the Educational Council were noted at the conclusion of the report. Members were: Alice Rogers, Bessie Miller, Paul Weaver, Walter Butterfield, and Paul E. Beck, Chairman.
91
“A Standard Course in Music,” Report of the Educational Council, in Journal of Proceedings of the Fourteenth Annual Meeting of the Music Supervisors National Conference 1921, Chapel Hill, NC: MSNC, 1921.
92
Ibid., 223–230.
93
Philip C. Hayden, Untitled editorial comments, School Music 23, no. 111 (September–October 1922): 19.
94
“Prof. Hayden Died at Graham Hospital Today,” (Keokuk, Iowa) Daily Gate City, May 15, 1925, 1.
95
William B. Kinnear, “Philip Cady Hayden,” in Journal of Proceedings of the Nineteenth Annual Meeting of the Music Supervisors National Conference, Durham, NC: MSNC, 1926, 268.
96
K. W. Gehrkens, “Philip Cady Hayden,” in Journal of Proceedings of the Nineteenth Annual Meeting of the Music Supervisors National Conference, Durham, NC: MSNC, 1926, 267.
97
“Conference Breakfast,” in Journal of Proceedings of the Twenty-First Annual Meeting of the Music Supervisors National Conference 1928, 1928.
98
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