Don't let your playing be a continual tempo rubato. Don't persist in reading the notes in the bass clef as if they were in the treble clef. Don't neglect a revision of old pieces. Don't forget that poor practice cheats yourself and not your teacher. Don't practice with long finger-nails. Don't bore your friends with "The blue bells of Scotland." Don't adopt your own method of fingering instead of that in the music. Don't practice scales with windows or doors open. Don't "pedal" as if you were on your "bike." Don't practice rests too much. Don't play Ab for A, DZ for D# C# for Don't thump the piano-it is not a donkey. BRYAN'S ORATORY. An admiring critic in a recent number of the Atlanta Constitution ranks Bryan as the greatest orator among living Americans. He says in substance: "To the man who has heard the average stump-speaker Mr. Bryan's eloquence is a revelation gratifying and astounding. You may enjoy listening to this man or that. His platitudes are high-sounding, and the phrases which he coins are tickling to the intellectual palate. But there are two very severe tests in real oratory under which the every-day expert almost invariably wilts. Come away from an ordinary political meeting and endeavor to recall the most striking portions of a speech, or to line up in your mind's eye the general drift of your man's effusion. You will meet failure in almost every instance. To be sure, there will be a vague remembrance of pleasant periods, glossy and succulent at the time, but it will be difficult to lay your finger on a single lucid train of thought which has vividly impressed your mind. Another test, and one more rigid still, is to read a speech and watch its influence as you read. At the time, the man's fervidness of manner, his flexibility of voice or grace of gesture, may have warmed and excited you, but you will discover that his sentences in cold type do not awaken a fraction of that enthusiasm which prompted you to applaud and approve so liberally. "Every one who has heard Mr. Bryan speak knows that he survives these tests. There are very few Democrats or even Republicans whom you can approach and find ignorant of the sentiments of the last presidential candidate, and who can not repeat some of the most powerful and tense of the utterances which gave them to the world. You can pick up a newspaper and read a speech by this same individual, and you will find that not an atom of the fire and stimulating properties has been lost by their transfer to paper. You read and are electrified and enthused just as though the author was pleading in his most sonorous tones, and you were occupying a front seat drinking in his marvelous eloquence. It has been proven that these addresses have almost as great a vote-gaining ability when read in the quietude of the study as when listened to in the magnetic intoxication of the convention hall. "In the latter case the speaker is so fluent and his metaphors and figures so lightning. like as to compel your utmost attention for a full appreciation. You have no time to digest or question them. Count them over the next morning and you will find them just as logical and impressive as when they were sounded in your ears. You will discover that you have not been dazzled by platform pyrotechnics, but that the meat is as wholesome and grateful as was the odor of its production. "How many public men are there who can lay claim truthfully to these extraordinary intellectual qualities? It would be an arduous task to name four or five in the forum of to-day. That the gentleman from Nebraska is easily the leader of these is not disputed by those who have made a lifelong study of politics and politicians." THE PHYSICAL TRAINING OF CHILDREN. "Under the present artificial conditions of society," says a writer in Good Health, " even little children have ceased to be altogether natural. The entire race has lost that early instinct of self-development and selftraining so essential to its highest welfare. The physical habits formed in childhood are of the most tenacious character. Children have a great faculty for imitating any kind of muscular activity, as well as for acquiring physical habits of any sort. Hence, the importance of guiding the child in its earliest years, so that by a careful training of the muscles correct habits of standing, sitting, walking, breathing, of performing every muscular function, may be established. Graceful attitudes in the adult are not the result of evolution, but of early training. When we consider that muscular habits have much to do with the development of our bodies, with the shape of the skeleton and of the chest, the physical training of the child becomes of serious consideration. A child is pigeon-breasted, his chest protrudes. Why? Because he has acquired an abnormal habit of breathing, sometimes as the result of nasal obstructions that bring into play muscles which are not ordinarily employed. One of the special objects of exercises for children should be to develop the chest. In children the cartilages are flexible, and the costal articulations of the spine have free mobility, so that when the child takes exercise and increases the activity of his respiratory movements, the result is an enlargement of the chest. Forcible respiration in the child means a respiration fuller than the ordinary. It means expansion of the chest, a stretching of all the joints and the cartilages connected with the ribs. With the adult this is not true, because of the calcareous structures of the chest. The adult can make his chest a little larger, but he can not increase his chest capacity. The child, however, or the youth can inerease his chest-capacity considerably. Think what a gain it would be for children to take exercises that would create a demand for air, and by daily expansion cause the chest to grow deep and large and broad, thus providing a capital of strength for future years. Contrary to the common impression, the majority of children do not take enough exercise. The well trained child is taught to sit down and behave like a little man,' or ⚫ a little woman.' The result is seen in the lustreless eyes, the pale cheeks, the bloodless lips, the languid manner, that invariably follow such a deviation from nature's plan. Children are often permanently injured by being compelled to 'sit still.' Sometimes they are obliged to keep still as a punishment. Keeping a child still is the very worst kind of punishment. The child is certain to fall into a bad position—an attitude of despair or of sullenness. How much better than making him sit still for an hour would it be to send him up and down stairs a hundred times, quietly. There is a much wiser principle of punishment. Idleness results disastrously, by encouraging the body to settle into bad ways. "Children are liable to be injured by too much exercise of certain muscles and too little exercise of others, by unsymmetrical work and development. It is especially important that children should not be allowed to take too violent exercise. During the growing period the bones are soft and full of blood. We might say that there is a physiological congestion of the bones, so that a bruise or an injury is much more liable to develop an inflammation than in the case of an adult. If the child plays violently or is subjected to violent exercise, the bones are liable to become bruised or congested in some part, causing inflammation to set in and germs to begin their mischievous work. It is very important that the child should not become inordinately fatigued. When subjected to severe exercise, so that it becomes exhausted and perspires excessively, the wastes of the body are so great that the child's growth is hindered. The material needed for the work of digestion, for liver, heart, and lung action, is stolen away for these outside activities, and the child is liable to be stunted and dwarfed in consequence." SINGING AND SINGERS. Is singing a declining art and is the number of oratorio and opera singers diminishing? are questions that are asked and answered by Richard Davey, in a recent number of the Nineteenth Century. He says: 'If there is at present a dearth of firstclass English oratorio and opera singers, there is an equally marked diminution in the ranks of the concert-platform and comic opera stage artists. The Americans are crowding us out even in this direction, for the simple reason that they are better trained. Many of the American comic opera singers who are now so popular have studied for years in Paris or in Italy before venturing upon the boards. There is a great demand just now for competent singers in this branch of art, which may not be an exceedingly elevated one, but which is none the less remunerative and especially suitable for singers whose voices are flexible and sympathetic but not of great volume. A leading comic opera manager tells me that although he is constantly hearing fine voices and seeing goodlooking young ladies and gentlemen eager to make their débuts in his numerous companies, even in very small parts, he rarely, if ever, comes across one who can sing so much as a simple ballad respectably, and he therefore is obliged to engage Americans, who sing fairly well and are generally very smart and intelligent. My principal difficulty,' said a leading impresario, 'is not the selection of operas, but that of finding singers to interpret them. You ask me why I do not produce Lucrezia Borgia," "Norma," Cherubini's "Medea," Spontini's "Vestale," or Mozart's "Flauto Magico?" My answer is that there is scarcely anyone now before the footlights who can sing these operas. It is the same with "La Sonnambula" and a host of other charming works, not much in fashion now, it is true, but none the less delightful, and which I am sure would be eminently popular if they were given in accordance with modern taste in smaller theatres than Covent Garden or Drury Lane. We have declaimers in abundance who can shout Wagner, but with few exceptions artists who can sing Wagner as well as Rossini belong to a bygone age. I think they died with Titjiens, who could sing Semiramide to perfection, and who was altogether the finest Ortrud I have ever seen or heard.' "There are at the present time only three or four prima donnas who can draw a big audience to Covent Garden, independently of the opera in which they appear--Melba, Calvé, Nordica, and lately Ternina, all of whom were trained in the old Italian method. It was otherwise thirty years ago. Then London supported two opera-houses and each had its galaxy of 'stars' of the first magnitude-Titjiens, Nilsson, Patti, Galetti-Gianoli, Pauline Lucca, Ilma di Murska, Alboni, Marimon, Borghi-Mamo, the sisters Marchisio, Faure, Giuglini, Gardesi, Wachtel, Formes, Foli, Campanini, Gassier, etc. This list is a poor one compared with that which our two opera-houses published annually from 1848 to 1858, which contained the names of Grisi, Colbran, Bosio, Sontag, Piccolomini, Jenny Lind, Persiani, Tachinardi, Frezzolini, Alboni, Johanne Wagner, Mario, Ronconi, Tamberlik, Lablache, Tamburini, Tagliafico. In the English companies in the sixties and the seventies we had Parepa Rosa, Lemmens-Sherrington, Louisa and Susan Pyne, Sainton Dolby, Patey, Santley, Harrison, Lloyd, Sims Reeves (already a veteran, by the way), and a host of others too numerous to mention, but equally popular in their day." COLUMBIA SCHOOL OF ORATORY.-SUMMER SESSION, JULY 5-29, 1899. Life Study and Personation Recess Mrs. Riley Mrs. Riley Repertoire Miss Blood Systematic Elocution Physical Culture in three sections with Miss Blood, Mr. Turner and Miss Smith respectively Psychic Physical Culture. Exercises from the Sargent and Anderson Systems, Fancy Steps and Rhythmic Movements, Exercises for Individual Needs. Mrs. Riley Bible Reading Mrs. Riley Miss Blood Recess Systematic Elocution Mrs. Riley Mrs. Riley Repertoire Life Study and Personation Recess Miss Blood Mrs. Riley Physical Culture in three sections with Miss Blood, Mr Turner and Miss Smith respectively. Psychic Physical Culture, Exercises from the Sargent and Anderson Systems, Fancy Steps and Rhythmic Movements, Exercises for Individual Needs. Voice Culture in three sections with Mrs Riley, Mr Turner and Miss Smith respectively Breath Control, Resonance and Placing, Power and Expressiveness Exercises for individual Needs. Elocution, Elective Exercises Mrs. Riley 100 to 11 10 Gesture, Bodily Expression Mr. Turner ) Miss Blood or 1 Repertoire Miss Blood Miss Blood or Gesture, Bodily Expression Mr. Turner Elocution, Elective Exercises Gesture, Bodily Expression Mrs Riley Physical Culture in three sections with Miss Blood, Mr. Turner and Miss Smith respectively. Psychic Physical Culture, Exercises from the Sargent and Anderson Systems, Fancy Steps and Rhythmic Movements, Exercises for Individual Needs. Mr. Turner Miss Blood Conference on Methods Mrs. Riley Mrs. Riley Conference on Methods Mrs. Riley Miss Blood Lecture or Recital Lecture or Recital Lecture or Recital Lecture or Recital Lecture and Recital Physical Culture in three sections with Miss Blood. Mr. Turner and Miss Smith respectively. Psycbic Physical Culture, Exercises from the Sargent and Anderson Systems, Fancy Steps and Rhythmic Movements, Exercises for Individual Needs. Recess Recital by Students Mr. Turner Critic, Mrs. Riley Dramatic Art Recital by Students Mrs. Riley Critic, Mrs. Riley Bible Reading Recital by Students Miss Blood Critic, Mrs. Riley Systematic Elocution Conference on Methods Mr Turner Miss Blood Dramatic Art Conference on Methods Recital by Students 10.30 to 11 10 Recital by Students Physical Culture in three sections with Miss Blood, Mr Turner and Miss Smith respectively. Psychic Physical Culture, Exercises from the Sargent and Anderson Systems, Fancy Steps and Rhythmic Movements, Exercises for Individual Needs Voice Culture in three sections with Mrs. Riley, Mr. Turder and Miss Smith respectively. Breath Control, Resonance and Placing. Power and Expressiveness Exercises for Individual Needs. Systematic Elocution Recess Recess Recess Recess Recess Lecture or Recital Lecture or Recital Lecture or Recital Lecture or Recital Lecture or Recital W. C. T. U. Course-Same as the Public Speakers' Course. Silent Course-For teachers who desire to study the methods but do not wish to take active part. Elective Course Students qualified to do so may elect from the different courses upon consultation with the Principals. A class in Extemporaneous Speaking will be formed if there is sufficient demand Extra classes in Bible Reading will be formed if desired, COLUMBIA SCHOOL OF ORATORY. ΑΝ NYONE that saw Mary A. Blood and Ida Morey Riley at the Chautauqua convention of elocutionists could and would have had no doubt as to the kind of school they conducted. To know these remarkable women better, to see for ourselves their work-shop-their laboratory-in which such excellent results are obtained, was the main reason for our making a midsummer journey to Chicago. We found their rooms full of members of their summer school, among them the following: Teacher of English, Missouri State Normal School. Teacher of Reading, Oregon Agricultural College. First-grade teacher, Ohio Public School. Teacher of Elocution and Physical Culture, Augustina College. Teacher of Elocution and Physical Culture, Pillsburg Academy. Principal, Nebraska High School. Teacher of English, Nevada High School. Teacher of Elocution, New Jersey High School. Teacher of Elocution and Physical Culture, Blairsville College. Teacher of Elocution, School. Kansas State Normal Teacher of Oratory and Physical Culture, Syra cuse University. Teacher of English History, Latin and Algebra, Iowa High School. Teacher of Grammar, Elocution and Physical Culture, Mt. Morris College. Teacher, Michigan Public School. Teacher of Literature and Elocution, Kentucky Public School. Teacher of Elocution and Physical Culture, University of South Dakota. Teacher of Elocution, Western Michigan College. School. various Mrs. Riley announced that there were fifteen States represented, New York being the farthest east, Oregon the farthest west, Alabama the farthest south, and Minnesota the farthest north. She welcomed the class to "Chicago, which contains the best and the worst, which is the centre of art and of education, at least of the West." After speaking of the various committees that had been appointed, one of them being a social committee to show pupils the various attracIn tions of the city, Mrs. Riley added: " these rooms we have seen people made Christians have come from unbelievers, weak girls have been made strong. The atmosphere is friendship. This explains Columbia's secret. Of all the arts this is the greatest. You can not put a masterpiece of painting or of sculpture into every room, but you can make use of the art of expression at all times and in all places." There were also eight clergymen from parts of the country representing the Methodist, Episcopal, Congregational, Presbyterian, and Baptist denominations. In such a company there is no wonder that the very atmosphere is educational. You take in, you absorb, through eye, ear, and through the other senses, consciously and unconsciously, ideas, inspirations, aspirations. You expand in spite of yourself. You feel like expressing, and you are forced to provide something to ex press. over; The Rev. W. H. Mathews praised highly Miss Blood's Bible reading which, he declared, had uplifted him. Miss Blood followed, calling attention to the universality of the art of expression. "All that we see in the world is the product of expression-animal and vegetable lifeall. I wish to strike the core of vocal expression. We have two great natural languages common to every living thing: (1) Bodily response; (2) vocal response. Man has created another language (3), speech. This is an artificial language as compared to the others. We can convey thought through artificial language. We have grown to be satisfied to use this bald, artificial language. We need to get back to bodily and vocal response. The reader must give the bodily expression with the language expression. When we use artificial language alone, we have simple statement of facts, statement pitted against expression. Mere statement of fact is not expression. [Illustrates by Riley's 'That Old Sweetheart of Mine, and several other pieces, including a Bible passage.] The central truth or aim is to make the tone say what the words say. Tone-color is the name for that subtle something not described by the usual terms." Pupils were asked to write out their repertoires, also a list of the recitations they would like to study. They were asked to write out a sketch of some peculiar person that they had known well. Miss Glenna Smith recited" Hagar," Browning's "Tale," |