Hadow (1923)

Notes on the text
Preliminary pages Membership, Analysis, Preface, Introduction
Chapter 1 History of the curriculum in secondary schools
Chapter 2 The curriculum at present in use
Chapter 3 Differences between boys and girls
Chapter 4 General review of the evidence and conclusions
Appendix I List of witnesses
Appendix II List of publications
Appendix III Coeducational day schools
Appendix IV Music and art exams
Appendix V Dr JG Adami: memorandum
Appendix VI School timetables

London: HM Stationery Office

Appendix IV On the position of music and art in school examinations

In the examinations of the Oxford and Cambridge Schools Examination Board, and of the University of London, drawing and music are the only subjects outside the three main groups. In the examination of the Central Welsh Board they constitute Group IV, domestic and business subjects composing Group V. In the remaining five examinations they appear with domestic and business subjects in Group IV.

Oxford and Cambridge Schools Examination Board
Group IV is optional, and the excellence of a candidate's work in it will not exempt him from the necessity of reaching a minimum standard in each of the Groups I, II and III. His work in Group IV, however, will be considered in conjunction with his work in the other three groups in estimating his claim to a Certificate. (Regulations for 1923, p 47, Section 3.)

Oxford Local Examinations Delegacy
Slight deficiency in one of the Groups I, II and III may be compensated by substantial work in two other Groups (of which Group IV may be one). (Regulations for 1923, p 12, Section 1.)

Cambridge Local Examinations Syndicate
In assessing the satisfactory standard required from the candidate in the Examination as a whole, the Syndicate will take account of all subjects (including those in Group IV) in which the candidate passes with credit. (Regulations for 1923, p 14, Section 1 (&).)

Northern Universities Joint Matriculation Board
Not more than one of the five subjects, in which a satisfactory standard is required for the Certificate, may be taken from Group IV. (Regulations for 1923, p 7, Section 4 (i) (6).)

University of London
For the Certificate it is necessary to reach a required standard in six subjects, of which either music or drawing may be one. (Regulations for 1923, p 12, Section 2.)

University of Durham
Not more than one of the five subjects in which a pass is required for the Certificate may be taken from Group IV (D). (Regulations for 1923, P 1, Section 4 (2).)

University of Bristol
A pass in one subject of Group IV may be counted with passes in four subjects of Groups I, II and III for the award of the certificate. (Regulations for 1923, p 11, Section1 (12) (b).)

Central Welsh Board
For the Certificate a candidate's work in all groups, including Groups IV and V, will be taken into account provided a certain minimum standard is attained in Groups I, II and III. (Regulations for 1923, p 8, Section XVII (c).

In order to pass, candidates must satisfy the Examiners in (I). In order to obtain distinction they must satisfy the Examiners in (I) and (II).

(a) Aural training

Candidates will be required:

(1) To sing a simple melody at sight.
(2) To write from dictation a 4 bar phrase.
(3) To write down in any key, specified by the examiners, one of 12 hymn tunes the names of which have been announced in the syllabus for the year.
(4) To recognise simple changes of key in passages played by the examiners: the answers to be written down.
(5) To recognise common chords, inversions and cadences.
(6) To translate two examples of the rhythm of poetry into corresponding musical rhythm - the passages to be written on one note.

(b) Elementary Harmony (common chord, dominant 7th and their inversions): either (1) the harmonisation in three or four parts of a given melody, or (2) the supplying of a melody above an unfigured bass.

(c) Structure of melodies: either (1) the analysis of one or more given melodies, or (2) the composition of a melody to a given stanza of verse.

(d) General elementary knowledge of the outline of musical history.

(e) Test quotations
Candidates will be asked to identify four out of 10 or 12 well-known melodies or phrases.

(f) Study of a set work (Elementary)
e.g. a suite of Bach or an early sonata of Beethoven, or a selection of pieces by Schumann or Chopin. The set pieces should not require a knowledge of any instrument other than the piano. The above is designed as a syllabus for a three hour paper, of which the aural training apart from sight singing should occupy about half an hour or forty minutes.

Candidates for distinction are required to offer one of the following: pianoforte, violin, singing or composition.

Candidates who offer pianoforte, violin, or singing will be allowed to make their own selections from a prescribed list of composers. They will also be tested in sight reading.

Compositions may be either vocal or instrumental, and whether long or short will be expected to show some individuality and some sense of musical structure.

(a) Aural training

(1) Score for sight reading:

(2) Score for dictation:

(3) Write out 'French' in the Key of D.

(4) Write down the changes that occur at the end of each two-bar phrase in the following (the passage to be played three times and the key to be given):

(5) Write down the name of the following chords (Tonic, Dominant etc) and inversions. The passage to be played slowly three times:

(6) Translate the rhythm of the following lines of poetry into corresponding musical rhythm:

(i) It is time, it is time oh passionate heart, said I.

(ii) O what a plague is love, I cannot bear it.

Write a melody above the following bass. Use passing notes.

(c) (i) Analyse the following melody:

(ii) Write a melody for the following verse:

How sweet is the Shepherd's sweet lot,
From the morn to the evening he strays:
He shall follow his sheep all the day,
And his tongue shall be filled with praise.

(d) Give a short account of one of the following:

(i) The English Madrigal writers.
(ii) The growth of the orchestra from Bach to Beethoven.
(iii) The 'Romantic School' of the nineteenth century.

(e) Identify five of the following, giving the name of the composer or the name or first line of the song.

(f) Bach: French Suite in G major.

(i) What is meant by a Suite? Of what numbers does it usually consist? Mention any additions or exceptions.
(ii) For what keyed instruments did Bach write his chamber music? How do they differ from the piano?
(iii) Why are these Suites called 'French'?
(iv) Contrast the structure of the Allemand with that of the Gavotte.
(v) What is a Louve and how does it differ from other dance forms?
(vi) Write a short structural analysis of the Gigue.

In order to pass in music as a subsidiary subject, candidates will be required to satisfy the examiners in (I); as a principal subject in (I) and (II). Candidates for distinction will be required to satisfy the examiners in (I), (II) and (III).

(a) Aural Training

Candidates will be required:

(1) To sing a melody at sight.
(2) To write down from dictation a melody and bass of not more than eight bars.
(3) To write out in a key specified by the examiners one of 12 folk or national songs the names of which have been announced in the syllabus for the year.
(4) To write down examples of musical rhythms, specified by the examiners.
(5) To recognise and write down chords and their inversions up to the dominant 7th.
(6) To explain briefly the uses of the figured bass.

(1) Harmonisation of a melody for four voices, or pianoforte accompaniment.
(2) Harmonisation of a melody for string quartet.
(3) The supplying of a violin part to an unfigured bass on the 'cello.

(d) Questions in general musical history.

(a) Musical history (Special period).

(1) The age of Bach and Handel.
(2) The Viennese period, excluding Schubert.
(3) Schubert to the death of Schumann.

(b) Either:

(1) The criticism of two out of a selected list of melodies, or
(2) Free composition of a melody in four parts, the opening phrase and the cadence being given.

Mozart's string quintet in G Minor.
A pianoforte trio or quartet of Beethoven.
Schubert's piano trio in B flat or quartet in A Minor, or some other work of corresponding length and difficulty.

Candidates for distinction will be required to offer one of the following: pianoforte, violin, singing, composition.

Syllabus of performance

Pianoforte

(a) One movement of Bach or one movement of Beethoven.
(b) A piece selected by the candidate.
(c) Sight reading.

(a) One movement of Bach or or Mozart or Beethoven.
(b) A piece selected by the candidate.
(c) Sight reading.

(a) Two songs by Handel or Bach, and Schubert or Schumann.
(b) A song selected by the candidate.
(c) Sight reading.

As in School Certificate: higher standard required.
Candidates should be encouraged to offer concerted pieces for two or more instruments or voices.

(a) Aural training

(1) Sight reading:

(2) Score for dictation (played by the examiner or assistant three times).

(3) Write out 'The Seeds of Love' in the Key of A.

(4) Write on a single line the rhythm of the following (played by the examiner or his assistant three times).

(5) Write down the following chords (played slowly by the examiner).

(6) Write a bass to 'God save the King': figure it so as to make good 4-part harmony, and explain the use of the figures.

(b) Harmony

(1) Harmonise the following melody for four voices; or write a pianoforte accompaniment to it.

(2) Harmonise the following meoldy for string quartet:

(3) Add a free violin part to the following bass, played on a cello:

(c) Identify five of the following quotations. Give the name of the composer and the work from which it is taken:

(d) (1) What is the difference between mode and scale? Mention some of the characteristics of modal composition.

(2) What influence was exercised on the course of musical history by either (a) CPE Bach or (b) Gluck?

(3) Trace briefly the history of opera from Weber to Wagner.

(4) Illustrate the way in which the development of composition has been aided by improvements in the construction and use of instruments.

(a) The Viennese Period

(1) Illustrate nthe effects of patronage on the music of the late 18th century.
(2) To what extent did Haydn and Mozart influence each other?
(3)In what sense was Beethoven a revolutionary?
(4)Write an account of any composition of this period which has given you special pleasure.
(5) Compare the use made by Haydn and Beethoven of national melodies.

(b) Either

Write a short critical description of one of the following melodies (the melodies to be written out):

(1) The flight of the Earls.
(2) Handel: Harminious Blacksmith.
(3) Schubert: Litanei.

or

Write, and harmonise in four parts, an 8-bar melody which begins:

and ends:

(c) Beethoven: Pianoforte trio in C Minor.

(1) Describe the part played in the first movement by its opening phrase.
(2) Illustrate from the slow movement Beethoven's treatment of variations.
(3) Describe the second subject of the Finale and the use which Beethoven makes of it in the course of the movement.

Section A

1. Drawing from the object.
2. Drawing from life - plant, or animal, or figure.

Section B

3. Memory drawing - general memory work from ordinary environment, attention being given to local buildings, views and the like, in order to widen the choice of subjects.
4. Illustration - a test in imaginative illustrated work.
5. Design - e.g. of a pattern or ornament having relation to a particular activity.
6 Mathematical drawing - to include scale, geometrical and perspective drawing, with a wide choice of subjects.

Section C

7. Written Paper - the History of Art.
In this paper appreciation rather than technical knowledge will be required, and questions will be set involving appreciation of contemporary conditions rather than purely historical knowledge.

Candidates will be asked to choose one exercise from each section (A, B and C); and they will be required in addition to submit drawings, or specimens of craftsmanship (e.g, pottery, or woodwork, or embroidery, or bookbinding) of their own design and execution, from their year's work.

(1) Drawing from the object - i.e. the drawing of natural forms and manufactured objects by the candidates in the examination.

(2) Drawing from Life
(a) Plant. (b) Animal. (c) Figure (draped). In each case the study or studies will be made from the plant, animal or figure. The test will involve either different studies of different positions, or one study of one position. A choice may be given, such as:

(a) Draw studies of the head of the model from three different points of view.
(b) The model will be posed 3 times in 3 different poses: draw the whole figure in the 3 different poses.
(c) Make studies as best you can of the different parts of the animal in front of you, and if possible a sketch of the whole.

Figure cleaning boots.
Figure dragging a cart.
Figure kicking a ball.
An armchair.
A staircase.
A letter box.
A policeman.
A village street.

Not more than two of the above tests should be attempted.

(4) Illustration Imaginative illustrative work, e.g. subjects such as:

I An actual incident in History or everyday life (The peasants' revolt or a dinner party).
II A quotation from a poem or story.

(5) Design - Pattern or ornament having relation to a particular activity, such as:

(Woodwork) panel of a door of a cupboard.
(Embroidery) Bedspread (stitches and material stated).
(Pottery) Porridge Bowl (shape and design).

Plans and elevations of subjects and simple buildings.
Geometrical drawing, including pattern.
Perspective (the horizontal plane).

1. What do you know of the paintings by primitive men, which are to be found in caves in western Europe? What are the qualities which these paintings show?

2. Compare the sculpture of Ancient Egypt with that of Ancient Assyria.

3. Show the importance of Greek mythology in offering themes and inspiration for Greek art, either (a) in sculpture, or (b) in vase painting.

4. Compare the structure and style of a Greek temple of about the time of Pericles with the structure and style of a great English church of about the time of Henry III.

5. What were the methods of internal decoration employed in the houses of well-to-do Romans under the Empire?

6. Write a brief account of the art of mosaic, especially as applied in Byzantine churches.

7. Give some account of the style of sculpture employed in English and French churches of the 12th and 13th centuries.

8. What do you know of the treatment of religious subjects in the stained glass windows of English churches of the Middle Ages?

9. 'During the Renaissance art ceased to be a matter of the guild, and became the expression of the individual.' Illustrate this statement with reference to the development of any one of the arts during the 16th century.

10. Compare the arrangement and the style of building of a mediaeval castle of the time of King John with the arrangement and style of building of a great country house of the time of the Stuart kings.

11. Discuss the characteristics of portrait painting in England in any century with which you are familiar.

12. Trace either the development of silver work from the reign of Charles II to the death of George III or that of the chief types of English porcelain.

13. Describe the recent development of the art of printing in England.

14. Describe either the characteristics of the work of Grinling Gibbons or the style of decoration used by the Adam Brothers.

15. What do you know of the influence of Chinese art on modem decorative art in England?

16. Give an account of the main types of lace of which you know, with notes on the history of any one of the types.

17. When you last looked into the windows of a china shop or a silversmith's shop, what were the forms of patterns you most admired, and why did they attract your admiration?

18. If you had to furnish a small house for yourself, what types of furniture would you try to obtain for the different rooms?

19. Design a small country house of about 12 rooms, and draw a plan of its garden of half an acre.

20. What kind of wallpaper do you like in your home? Take colour as well as design into account in your answer.

Signed on behalf of the sub-committee appointed to report on the teaching of Art
Ernest Barker
Chairman.

While it is desirable that art should be studied, and the appreciation of art encouraged, as an independent subject on its own account, it may not be easy to arrange for such study in secondary schools, owing either to the paucity of suitable teachers, or the want of a proper equipment, or both. But even if it may often be difficult to arrange for the study of art as an independent subject, it will always be possible to introduce some study of the subject as a part of, and in connection with, the study of other subjects. The subject of history seems to lend itself particularly to this purpose. History deals with the record of the artistic as well as with the record of the political activity of mankind. To many students the artistic aspect of history may be even more interesting, and even more charged with suggestion, than the political. Without discounting in any way the value of the teaching of political history, it is possible to emphasise the value of the teaching of history from a point of view in which the social life of the past is seen in close connection with its artistic activity. In this way students who do not readily appreciate the problems of political history may find a side of history opened to their imagination which elicits a sympathy with the past, and they may learn through their study of history an appreciation for the achievements and the methods of the artistic genius.

If art is to be taught in connection with history, and by means of some special course in history suitable for students who wish to follow an artistic line of approach, the object should be as follows:

(1) Generally, to visualise and to draw places, scenes and buildings. Drawing might partly take the form of dramatic, and partly that of exact reproduction. Students might be encouraged to memorise objects specially visited, to reproduce such objects, and to correct by comparison with the original the reproduction which they had attempted to make from memory.

(2) Specially, to study the buildings which express or reflect the stages of social development - the homes of peasants and of the middle classes; churches and monasteries; city halls and village barns - in close connection with general social history, the life of the people and contemporary civilisation.

It is not suggested that the study of history on its artistic side should in any way oust the study of political history. The majority of teachers, and especially those who have been trained in history at the universities, will prefer to teach political history; and it is probable that the majority of students will also prefer to study political history. It is only suggested that those teachers who prefer to approach history from another point of view, and those students whose tastes impel them in the same direction, should be free to teach or to study an alternative form of the subject. What is involved in the suggestion is thus an optional and alternative form of history, which might be taken by some pupils in lieu of the form at present prescribed for Certificate Examinations. In this form history would include, in close conjunction, the study of social history and the study of the pictorial, architectural and other artistic expressions of the taste and genius of the period of social history selected.

If students had received a training in history of this description, they would be well qualified to receive a special training in art at the age of maturity. The training here suggested contains an element of execution, in the sense that it involves the drawing and reproduction of artistic objects; but the element of execution need not be specially emphasised, and the attention of the student might be mainly directed to the social life from which the art of the period sprang, and in relation to which it bore significance.

In this memorandum attention has been definitely concentrated upon history. It is obvious, however, that there is a large field, still unexplored and uncultivated, for the development of artistic appreciation through the study of literature. The recent report of the English Committee contains abundant suggestions on this matter, and suggests a revision of the curricula at present prescribed in English literature. The study of literature as a product of the artistic sense and a reflection of the general experience of life in a given epoch - a study which might be connected with the general social history and the other artistic expressions (architectural, pictorial and the like) of that epoch - deserves the most serious consideration. It is more difficult to suggest any scheme for the use of scientific subjects in connection with art and artistic appreciation. Something, however, might be attempted in the field of geography; and the power of drawing might be fostered, and that of observation developed, through an alternative form of that subject. It is even possible to conceive of a general study of natural science in connection with art by students whose bias was definitely towards the artistic side. Botany deals with flowers, and flowers have beauty; mineralogy with crystals, and crystals are marvels of construction; anatomy with the body, and the body is the most wonderful of all works of art.

In order to show the application in detail of the general suggestion which we have made for the connection of the study of history with that of art, we have framed a form of syllabus and suggested a number of specimen questions. The syllabus (it need hardly be stated) is purely illustrative; and the various examining bodies - should they decide to attempt any experiment on the lines which we have suggested - will of course frame their own syllabus at their own discretion. The syllabus which we have framed, and the specimen questions which we have put forward, are confined to the field of English history. We have not thought it necessary to make any suggestions relating to the study of classical art in connection with the social history of the ancient world. Much has already been done in this direction; and we confidently hope that classical scholars will continue to build on the foundations which they have already laid. The social history of Ancient Greece and that of Ancient Rome are already subjects of study and of examination in the University of London. The development of Greek architecture and sculpture is a subject of study and examination for Honour Moderations and Literae Humaniores at Oxford; and it is obviously possible to find an analogous curriculum and subject of examination in the field of Roman buildings and monuments.

English History

Three papers are at present set to candidates who offer English history in the Second School Examination. We propose that three papers should also be set to candidates who offer the alternative form of history which we suggest. One of these should be concerned with political history, and should accordingly be a common paper, taken alike by candidates who offer history in the existing form and by those who offer it in the alternative form. The other two papers should be concerned with social history and the history of the arts and crafts, on the following scheme:

Paper I

A. The social history of England, including both economic development and the history of general civilisation, either (a) to 1485, or (b) from 1485 to 1914.

B. The history of arts and crafts, including architecture, painting, pottery, metalwork and woodwork and dress, either (a) to 1485, or (b) from 1485 to 1914.

Paper II

An art or craft selected for special study, such as
(a) The development of Gothic architecture in England, both ecclesiastical and lay, to 1550.
(b) Arms and armour with heraldry.
(c) Painting and Illumination.

1. Describe, with a sketch, a Norman doorway, with a group of people entering in the costume of the period.

2. Give an account of the objects you would see in a peasant's house in the time of King John, and compare them with those you would see in a country cottage today.

3. How did the mediaeval artist introduce colour into his churches? Give an account of any gothic church, you know where evidence remains of this custom.

4. Illustrate the art of woodwork in the later middle ages from the roofs, screens, and stalls of any church you know.

1. Draw a plan either of a Norman parish church, or of a thirteenth-century cathedral church, either from your own design of this type or as a copy of an actual model.

2. What part did a buttress play in the development of a building? Illustrate your answer with reference to any building you have studied.

3. State what you know of the development of the farmhouse in your own county.

4. The tracery of the windows of churches shows a marked development between 1100 and 1400 Describe, with sketches, the changes and account for the development.

5. Give an account, by sketches and otherwise, of the banqueting halls of the middle ages, with their roofing and arrangement, mentioning any special one you have studied.

6. In Henry VII's Chapel, or any other similar building of which you have a first-hand acquaintance, show how the character of the ornament is consistently repeated throughout.

7. How were the monks' domestic needs provided for?

8. What do you know of the buildings of almshouses or cottages or schools in this period?

1. Show how shipbuilding was accommodated to (a) the change from pelagic to oceanic seafaring, (b) the use of large cannon in sea fighting.

2. Do you think that the Mercantile System was the best policy to meet the needs of 16th and 17th century England? When and why did it begin to lose favour?

3. Discuss the effects of the Renaissance and Reformation on education in England.

4. What knowledge of contemporary social life do we gain from Pepys or Pope or Boswell or Jane Austen?

5. Estimate the importance of James Watt in the history of civilisation.

6. Discuss the contribution of science towards the relief of human suffering during the last two centuries.

7. 'Improved methods of communication are the most hopeful of the forces that are working towards the development of international cooperation and alliance.' Discuss this statement.

1. What are the main differences between the handwriting of the 14th and that of the 17th century? What part did the invention of printing play in producing these differences?

2. Write a correspondence between Henry VIII and the author of the portrait of Anne of Cleves.

3. 'Tudor and Stuart architects avoid the faults of both their predecessors and successors.' How far do you agree with this statement, and to what do you attribute the weakness of the earlier and later designs?

4. Quote from an imaginary diary an account of visits to London in 1665 and in 1670.

5. 'All over Europe the ideals of applied art have remained the ideals of the Pompadour.' What is meant by this statement?

6. 'In the history of art we read the spiritual history of the race.' Do you agree with this statement? Quote instances in support of your view.

7. In which do you find greater promise of a genuine popular art - the modern ball room dancing, or the folk dancing revival?

8. What improvements were made in the 18th century in connection with either pottery or weaving?

At present the subject of history is commonly recognised in the School Certificate by a single paper divided into two parts, both dealing with political history. Three periods, which are alternative to one another, are sometimes allowed as options. It would be quite simple to allow an alternative subject dealing with social history and the history of art in England; to allow within this paper a choice of three periods; and to set in each period (a) a few general questions on English social history, which must necessarily be answered, and (b) a choice of questions on the history of English arts and crafts, illustrated by sketches and drawings.

All questions in the second part might be answered by written description or by sketches (except where one or the other was specifically required); no marks would, however, be given for drawings in which the main facts were wrong.

1. What difference would you expect to see, compared with today, in the main street of a town in Queen Elizabeth's reign as regards buildings, costume, vehicles, and the like?

2. Describe the court costumes of Henry VIII or Charles I.

3. What were the main pieces of furniture of a country house in the time of James I?

4. Describe any work of art which has particularly struck you of the time of Charles I, or Queen Anne, or George III, or Queen Victoria.

5. What are the characteristics of any church in the county in which you live?

6. Describe, with sketches, a drawing-room designed by the Adam Brothers.

7. With the given sketches, reconstruct the different houses for the period to which they belong Sketches will be given.* (A choice would be allowed.)

8. Describe, with sketches, some private mansion, in the period you have studied, with which you are acquainted.

*For example: an oriel window; a Renaissance doorway.

Signed on behalf of the sub-committee appointed to report on the teaching of art,
Ernest Barker
Chairman.

(The Chairman desires to record the eminent services rendered to the sub-committee by the Principal of the Royal College of Art (Mr Rothenstein), to whose suggestions the main lines of this part of the Appendix are due.)