negative. It appears also that the practical teaching is exclusively vocalwith this exception, that provision is made for accommodating any who may choose to practise the piano-forte on payment of a moderate special fee an arrangement which is intended chiefly for the female students. III. METHODS. TEXT-BOOKS.-Edinburgh-For Sacred Music, "The Scottish Psalmody," and Hullah's Part Music. APPARATUS. For Secular Music, Pieces from Novello's Musical Times, and a Collection composed by the Teacher, For Study of Notation, no text-book, taught by Apparatus noticed below. For Study of Harmony, Hullah's Harmony. Students provide themselves with copies of such textbooks as are not in the School Library, but it is not stated what these are. Glasgow For Sacred Music, "The Scottish Psalmody." Students have provided themselves with copies. No textbooks for secular music, for study of notation, or for study of harmony. These taught by apparatus mentioned below. Edinburgh Black Board, Hullah's Sheets, Piano, and Harmonium. "It is proposed also to introduce ruled slates for exercises in dictation." Glasgow-Black Board, Modulator, Harmonium, and Music Boards. Teachers in both Seminaries seem to regard the apparatus as sufficient. The last questions proposed under this head refer to the particular method employed for practising intervals in vocal exercises. Considering the small success usually attained in teaching musical notation to large classes, so as to make it practically available in reading music, the Committee felt it to be perhaps the most important question they had to deal with, what method could be recommended as attended with least difficulty, and as, on the whole, likely to lead soonest to the desired result. And as teachers trained in the seminaries are very likely, after they have obtained charge of schools, to adhere to the method which they acquired there, the necessity of looking into this matter will be apparent. There are three methods used in Britain for this purpose. I. The numerals 1, 2, 3, &c.; 1 representing the key or 1st of the major mode at whatever pitch, 2 the second of that mode, &c. II. The syllables do, re, mi, etc., used in the same manner as the numerals, do representing the 1st of the major mode, re the 2d, &c., whatever may be the pitch of the key. III. The same syllables but representing particular tones-do C, re= - D, &c. The two methods of using the syllables are commonly distinguished as the moveable and the fixed. Ot the three methods thus described the 1st and 2d coincide in principle, which is that of shewing the relation of the different steps of the scale to each other, and especially the relation of all the others to a key-note. The 3d method makes the exhibition of absolute pitch the more promi*nent object. The question being put between numerals and syllables, it is stated that in Glasgow the syllables are preferred; and that in Edinburgh both are used, but no explanation is given as to the relation they are made to bear to each other. Again, the question being put between the two methods of using the syllables, the answer from Glasgow is that the moveable method is adopted in the earlier, and the fixed method in the later stages of progress. The answer from Edinburgh is that both are explained, and their comparative advantages and defects pointed out. But explaining and comparing methods is a different thing from employing one as the instrument of actual practising, and with a view to the student's future course of teaching, and the brevity of the answer given renders it impossible to say how the matter stands in this respect, whether both methods are used, or one-or, if one, which it is. The question is also asked, how modulations are indicated when numerals or syllables on the moveable plan are employed? The answer from Edinburgh is, that the " numerals or syllables are altered," and examples are given as follow: AIR, 32571176 Key A Major. 4371 234321 BASS, 17 362255 1 2 3 4 2 1 2 3 4 3 2 1 | 17 || 421 4 2 4 The answer from Glasgow is, that the plans are regulated by the requirements of the pupils, a statement which conveys no information. The question how, when the syllables are fixed, the intervals of the octave are taught in transposed keys, has had no light thrown upon it by either seminary. It may seem to some unnecessary to enter into these minutiæ, but it is to be considered that at the present day musical teaching is rapidly extending -that inquiries are made respecting the methods found to be most workable and efficient-that the plans pursued in the normal seminaries are apt to be sought after as authoritative and worthy of imitation—and that members of this Committte are placed at a disadvantage when, on being applied to, they find themselves unable to offer any opinion upon these plans, or even to state clearly what they are. IV. RESULTS. The theo Attainments in music are either theoretical or practical: retical includes a knowledge of the principles of melody and harmony, and of the methods used to exhibit music to the eye. The practical embraces the power of performing music vocally or instrumentally from memory, together with that of writing musical ideas, and of reading them musically when written by others. In the seminaries the professed' aim is to secure a reasonable degree of proficiency in both departments; but in inquiring into the attainments actually realized, it was considered necessary to keep in view the distinction between them. In regard to theoretical knowledge, the Committee have deemed it sufficient to ascertain the extent to which the students succeeded with the Government Examination Paper of last year-these papers being regarded by them as tests of theoretic attainment only, which view is substantially acquiesced in by the teachers in both seminaries. The results are as follow: It is proper to add that this examination paper varies from year to year, and that the same paper is employed for students both of the 1st and 2d years. It consists, however, of two divisions, the latter containing the more difficult questions, and both divided into sections-the choice of questions allowed to the student of each year being so regulated as to test the degrees of attainment expected from both. It is perhaps unnecessary to enter more particulars. Whether this is the best mode of procedure for the, purpose in view may well be doubted, but the Committee refrain from indicating any opinion respecting it at present. It may be interesting to compare these results with those obtained in some others of the training seminaries of Britain for the same year, as found in the last report of the Committee of Council. The instances chosen are those in which the circumstances may be supposed to be most a nearly parallel. R 91112 10 MALES. bert noed ton esH Excellent. Good. - OTR moitas auT British & f1st year, Foreign, London, 2d, Wesleyan, 1st, London, 2d, Estab. Chafelst, Edin. 2d,,, Estab. Ch. 1st, Glasgow. 2d, sulcy arcod FEMALES. Wesleyan, دو 1st year, 2d, Estab. Ch. 1st, 12d, Edin., d взлероза в тве Sayed reizes od ni wond 2 As a further means of comparison, the numbers of male students of the first year standing at "Good" and "Fair" in these seminaries, are reduced to a per centage of the whole attendance. The first and last in the list of those connected with the Church of England are also included. The value of this comparison depends upon the question whether the trial is conducted in the several institutions according to a uniform standard? There is some reason to doubt that this is not strictly the case, but the Committee are not in possession of positive information upon the question. The tables, however, invite inquiry, and are worthy of attention. Turning next to practical attainments as above defined, it is obvious that these can only be fully estimated by actually hearing the vocal performances of the students, and witnessing specimens of their skill in reading or writing musical compositions; but it was not considered necessary to adopt that expedient in the first instance. No help can be obtained in this part of the inquiry from the measures employed by the Committee of Her Majesty's Privy Council, as these include nothing that can be regarded as a test of practical proficiency. There is, indeed, a regulation noticed more fully below, which is meant to serve as a substitute for such a test; but its operation affords no data or information whatever, except the fact that all the students, except about one-tenth, actually pass this test, the value of which fact depends entirely upon the import of the regulation. In these circumstances certain practical questions have been submitted, which, with their answers, are given verbatim. Questions. What number of Students may be qualified at the end of the course to sing at sight simple music previously unknown, in the easier keys? How many may be able to write such music in those keys from hearing it sung? What proportion, though unable to read music, could sing alone (individually), from memory the material practised during the course? Answers Edinburgh. Has not been tried. Nearly the whole of those who cannot read music, including those who can. Answers Glasgow. I believe that at the termination of the session, the majority of the Students will be competent to read or write a simple piece of music? This question I am unable to answer, on account of its anomalous nature. *The following additional particulars have been obtained through questions addressed to the Rectors specially. The Government Examination Paper on Music is not one of those in which success is essential-—that is, failure in it does not of itself exclude from a certificate. It bears value, There is a third mode of testing musical attainments, which combines the theoretical and the practical-viz., the composition of music. The Committee did not, on this occasion, make any inquiry respecting productions of that description; but a very creditable specimen in Sacred Music has been sent them as the performance of one of last year's students in the Edinburgh Seminary, who is said to have received all his musical education there. however, when successful, the degree of "Good" being rated at 50, and other degrees as "Fair," &c., in proportion. The highest number attached to the degree of "Good" in any branch is 60. The expense of teaching, in the training department alone, is, in the Edinburgh Seminary, £100, and in the Glasgow one, £24 annually. It appears that on the whole the students do not manifest less interest in the musical branch of instruction than they do in others taught in the seminaries. They are not exercised in teaching music to the juvenile pupils in attendance, the reason assigned being that it is considered best to confine that sort of training to the essential branches of education, to the exclusion of music, drawing, and several others. Directors of schools in making application for teachers have, for some years past, very frequently evinced solicitude for musical qualifications, though not to the extent of holding them as indispensable. Inquiry was also made after instances of superior efficiency and success in teaching music, amongst former students at the seminaries, now in charge of schools. It was thought that by examining such cases useful hints would be obtained in regard to schools generally; but the answers furnished fail to afford the expected advantage. The one Rector, however, states that several instances could be specified, and the other refers to two parties employed in the Normal Seminary itself. Perhaps in this instance the question was not expressed in terms sufficiently explicit. In surveying the information thus obtained, the first point which the Committee feel called upon to notice is the fulness of the course of musical instruction pursued in these seminaries. Two hours weekly to each student seem as much as can well be allowed to this branch consistently with what is due to others. It is obvious, also, that this amount of time continued over two years constitutes an ample course of study, compared with what is enjoyed by most aspirants to the office of precentor, and others who in private ways prepare for teaching music. Considerable results, therefore, may reasonably be anticipated; but whether the actual results are in accordance with such expectations or not, there does not seem any room for increase through the expedient of adding to the hours already devoted to this study. It is to be remembered, however, that, as already stated, about half of the entire number of students receive only half of the entire course of lessons. The most obvious method, therefore, of obtaining enlarged results, is an increase of the second year's attendance; and it is satisfactory to be able to add, that in this respect considerable progress has recently been made. Careful consideration has been bestowed upon the arrangements made by the Committee of Privy Council for the examination of students in music; and the Committee's conviction is, that while they have no doubt served important purposes, they are in various respects defective, and that the time has come for endeavouring either to have them improved, or supplemented by the Church itself. 1. Some of the questions seem to be needlessly difficult. It is no doubt proper to allow scope for the exhibition of superior attainments, but seeing that very few students in England or Scotland reach the point marked "Excellent," and only a moderate proportion in either the second degree of "Good," it is worthy of consideration whether, for a time at least, the pitch of these questions should not be lowered? This seems the more necessary, because some of them are comparatively useless as well as difficult. In examining the annual papers issued upon this subject, and keeping in view |