"Too much stress can hardly be laid on the author's groundprinciple, that where a method aims to regulate the modulations of the voice by rules, inconsistencies and lack of organic coherence begin to take the place of that sense of life which lies at the heart of every true product of art. On the contrary, where vocal expression is studied as a manifestation of the process of thinking, there results the true energy of the student's powers and the more natural unity of the complex elements of his expression."

29. The results of the School are thus given by Dr. Shailer Mathews, Dean of the University of Chicago, in an article in “The World To-day " for February, 1908:

"(The) School of Expression became at once the center of noble ideals, not only for the public speaker but also for literature and education itself. (Its) training is fundamentally one looking toward the liberation of the self from the restrictions set by self-consciousness, whether of soul or muscle, and the training of the body to express accurately the spiritual experience. . . There could be no better appropriation of funds than to endow generously the school that will perpetuate these ideals."

R

COURSES OF STUDY

EGULAR courses of each year are divided into groups, the number and character of which can be seen by consulting the Horarium for part of this year on pages 24-5, Individual instruction and sections are given to meet still more individual needs. Students are also occasionally permitted to elect additional subjects when their health, strength, and acquirements permit it.

The following courses are arranged in their logical order. A group of courses is made up from the successive numbers according to grade taken from the following departments. As is the custom in all colleges and universities, certain courses are given in alternate years. A few are given only once in three years.

I

GROWTH AND DEVELOPMENT

The work of the School of Expression begins with a careful study of the student's normal and abnormal conditions and especial stress is laid upon the thorough training of mind, body, and voice. From first to last there is a constant oversight of the general growth and development of every student, and everything is done by individual assistance or by prescribed exercises to correct faults and cause harmonious development of mind, body, voice, and the whole personality.

I. VOCAL EXPRESSION

Vocal Expression centers in the study of thinking and its most direct revelations through modulations of the voice and body. Attention, discrimination, and progression of ideas are developed. A natural method is adopted, first securing intensity of individual impressions, with the view of observing their effect upon voice and body. The simple rendering of the best literature is used as a means of revealing the student to the teacher and to himself. Each student is given a method of self-study and the direct use of his own creative powers.

First Year Courses: 1. Foundations of Expression. 2. Elements

Second Year Courses: 4. Imagination, 5. Assimilation and Dramatic Instinct. 6. Rhythm and Melody in Speech.

Third Year Courses: 7. Harmony of Expression. 8. Study of Selections. 9. Participation.

Fourth Year Courses: 10. Psychology of Vocal Expression. 11. Unity and Tone Color.

These courses are mastered in their order. Courses 1, 2, and 3 are studied during the first year; 4, 5, and 6, during the second year, and the other courses during the third and fourth years. Some of the courses are duplicated when the classes are large and are taught by different teachers.

II. TRAINING OF THE VOICE

The method of developing the voice is not only technical but psychic, and consists in awakening the imagination, stimulating the feeling, and securing right actions of the mind. Simple problems in expression are associated with technical training.

The voice training is divided into two parts, — first, the securing of right tone production, and second, the improving of speech. Methods of developing tone are based upon those of François Lamperti, and adapt his exercises to the voice in speaking. The work in articulation and speech is founded chiefly upon Professor Bell's Visible Speech.

a. Development of Tone. First Year Courses: 1. Qualities of Tone. 2. Elements of Voice.

Second Year Courses: 3. Principles of Vocal Training. 4. Emission of Voice. 5. Agility of Voice.

Third Year Courses: 6. Flexibility of Voice. 7. Resonance.

b. Development of Speech. During the First or Second Year: 1. Phonology. 2. Pronunciation. 3. Visible Speech.

III. TRAINING OF THE BODY

Two methods are adopted for development of the physical organism: First, the organic, which aims to secure proportion and normal adjustment of all parts of the body, with health and strength.

Second, the harmonic, which prepares the body for expression. The first method stimulates growth and is primarily physical; the second stimulates development and is primarily psychic.

2.

a. Organic Training. Courses: 1. Organic Gymnastics. Educational Gymnastics. 3. Theory and Practice of Gymnastics. 4. Gymnastic Games. 5. Fencing. 6. Rhythmic Exercises or Fancy Steps.

b. Harmonic Training. Courses: 1. Harmonic Gymnastics. 2. Co-operative Training. 3. Grace and Power.

IV. PANTOMIMIC EXPRESSION

The nature and meaning of the action of various agents of the body are carefully studied, and pantomimic expression developed by

practised to develop harmony in the motor areas of the brain, to bring thought, feeling, and will into unity, and awaken the dramatic instinct.

Courses: 1. Elementary Pantomime. mime. 3. Representative Pantomime. Gamuts of Pantomime. 6. Dramatic Action. cal Drama. 8. Unity in Action.

2. Manifestative Panto4. Characterization. 5.

7. Pantomime of Musi

II

CREATIVE EXPRESSION

From the beginning creative work is required in conversations, discussions, problems, recitations, writing, and literary or dramatic interpretations. Various practical modes of expression for awakening spontaneous energy are associated with all courses.

V. CONVERSATIONS

Students are required to give short talks on everyday topics, on incidents in their own lives, or on subjects in which they are interested, or about which they are reading. The life of the student is thus made more manifest in everyday words, tones, and actions. The stimulating effect of the training of the School upon discouraged or depressed persons is often marvelous. (See also Speaking.)

Courses: 1. Story-telling. 2. Topics in Literature. 3. Discussions. 4. Art Topics.

VI. PROBLEMS IN EXPRESSION

Practical studies or psychic exercises for the accomplishment of every end are required in all subjects. Short passages, sentences, or phrases, original and selected, are rendered by students to stimulate the proper actions of mind, body, and voice in natural unity.

Courses: 1. Problems in Reading. 2. Voice Problems. 3. Harmonic Problems. 4. Pantomime Problems. 5. Dramatic Problems. 6. Problems in Speaking.

VII. APPRECIATION OR CRITICISM

Students, according to their classes and advancement, are allotted several hours a week for rendering selections, addresses, stories, or scenes, written or chosen and prepared by themselves. In criticism the teachers endeavor first to discover the student's personal ideals and intentions, and after indicating to them wherein they have succeeded or fallen short, to encourage by awakening higher ideals and fuller appreciation of dramatic or other forms of art, and a more

1. Junior Criticism. The criticism of the first year centers upon endeavor to awaken the powers of the student, and secure control of voice, body, and natural elements of conversation, with genuineness in thinking and simplicity in manner. The student must learn to think upon his feet, and be true to his own intuition.

2. Middle Criticism. Comparison of the student's actual attainments with his ideal. Gradual elevation of the student's ideal and comparison with race ideals in literature, dramatic art, and oratory.

3. Senior Criticism. Criticism of the lyric, epic, and dramatic spirit in monologue, impersonation, and histrionic expression. Necessity of suggestion. The creative instinct, co-ordination of inspiration and regulation. Unity in the different modes of expression.

4. Post-Graduate Criticism. (See Professional Courses.)

VIII. WRITING OR VERBAL EXPRESSION

Command of words in English is secured in accordance with the fundamental method of the School of Expression, that is, from within outward; thus, placing substance before form, and awakening the faculties before attempting to secure facility in expression.

1. Themes. Short themes upon familiar literary or artistic topics. The student is urged to keep close to his own life, experience, and work. Principles of rhetoric practically applied. Nature and beauty of the English language inductively studied.

2. English. Literary creation. The writing of stories, poems, and essays. The expression of thought, feeling, and imagination

through words.

3. English Words. The nature of words. Studies in etymology. Written exercises for the improvement of the student's vocabulary. 4. Style. Written and spoken style contrasted. The spirit of different authors shown. Individual peculiarities. General qualities of style. Laws of expression as applied to words.

III

LITERATURE AND ART

In addition to work for personal development (I-IV) and the creative work in conversations and renditions of literature (V-VIII) various phases of literature and art are studied as records of the ideals of the race. Such criticisms of life are studied in direct union with the student's artistic use of his natural languages.

IX. LITERATURE

66

Literature is studied in the School of Expression in two ways,