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Aesthetics, Culture of
Grace and Physique ♦*Study Is Cultured Physical Culture," Says Oscar Duryea— Some Recent Developments in the Art. 'Tie , «<*tt»a lias boon a&ked me Innumerable 0^ lf< "What does aesthetics really mean?" The Lcstioners have usually accompanied their re narks by explaining tiiat they knew in a certain £15, «ort of way its insaning. but not as an (VtrrOr matter of fact i* cultured physical culture. Up to las or twenty years ago graceful gymnastics r ir sre oafenown in this country, but now gym 'aaaitSc teax-h-TS, as a rule, devote more time to T»rfflg and rhythmical exercises than to physi gal culture exercises as understood generally by a^ cam*- The reason for this lies in the fact ♦hat tie development of muscle alone does not produce the bast results physically: strength -H» sraxa is suppleness., which is the thins most to he desired. ;. . i • naaae who have studied dancing in a ballet tC3 ool are found to possess this suppleness to jjje greatest degree, but the exercises to fit them m become classical dancers are not necessary to Mac who wish simply to study for the purposes of physical betterment— it is at this point t»iat aesthetics begin. It has com* to mean a study especially jid&pted to the needs of those who do not de gjre to make a business of dancing, but rather a 'pleasure, physically profitable. The demand has tape so persistent for this class of work that ajaenl normal schools of repute have been established to teach the art to physical culture Instructors and to teachers of dancing as well, bacauae. whereas dancing as a social diversion bi» «een taught for years in a great many schools devoted to that exclusively, aesthetics Attempt to do more than simply give enjoyment fchey aim to give better health in a pleasurable, Kcefn! manner. VTbe teach inr: of dancing and Us allied arts has become a business with a recognized standing. «a much ■» that one school tn New York ha* task incorporated and employs a large faculty to expound its own system of aesthetics—teach ing a method of putting it down in black and w*ite. as well as the physical performance of its oaoh2tt<Kitt. An example of this system of writ lag th« exercises fa here given ratia^^ -" _ >•«« **" 1 04CfiBBB32E&_^v-7— >£ SaiEssaJosE I. *. »• * *§ 7J[^ * »•** r.k.%1. /.*-** j-.b.j.f. /.*,». v \ '-Lit. X ?V <?4^ y .>. ' jp^ ,"♦.,* c^*. X *. tsr Star t£^^ \ til'- lU9.+ r.L.J.B. *.i~S-<4: tzar *3n*-*^ z£tr *&-/**"**■ The foregoing *«*. although incomplete, *C 1 glv<- a saia.H i<i*a of the manner and kind of wort done. i Crad.-.' exercjus^g are tau?ht in aesthetics on ■•taint* principle as in instruction to play an •■^un^nt of my kind or to sins and in easy Cidation pup!Li ar<* taken through a series of New-york daily tribune. Saturday. September 5. i<x>s graceful exercises and are taught definite fun damental positions of the principal members of the body, such as the head, the arms, the hands, the body, the legs and the feet, to work from and to practise, just as a child is taught the finger exercises in music, and fro • this they are gradually given pieces to recite, the poem is set to music, and is expressed in aesthetic poses and g-stures. For example, in the following selec tion for children a fairy story is told, in verse, of the birth of the daisies on earth. This is called a dance-poem, because after the recitation a dance is performed to the same music, de scriptive of the thought contained in the verse 3: A \VONT>ROrs WILD FLOWER SHOW. By Oscar Duryea. Gol<T<er centre, with petals white Hi I rays of light, that's I. My kindred many, daisies t<y name. Their story would I could tell. Where from and how they came On this earth with you to dwell. As shooting stars, they fell through God's sky windows on high. Down they tntr.bled, bright then white. Stems of sreen and stampns yellow; The great round satellite of night. mussel, a tricolor arc mellow. Wild flower, moon shower rainbow. Wondrous eight in the sky. Folk, contra, demi-character, descriptive and national dances are taught in a gradually as cending scale, and at this point attention is called to the pleasure to be derived and the desirability of the contra -dances of Colonial times of America as in contrast to the folk dances of Europe. These contra-dances are much more difficult and contain more of dancing, and are not so pointless as many of the folk dances, and we instructors in America, as well as those who are our pupils, should be patriotic enough not to allow these oldtime figure dances, which require much more skill, both bodily and men tally, than the simple peasant dances of Europe, to be forgotten through continued disuse. Among j such dances might be mentioned Money Musk, Soldier's Joy. Speed the Plough, Hulls Vic tory, and many more. The reason why a-stheucs are so much tnore a popular study than gymnastics is this: the possible constant change in the subject under instruction, with its limitless field for improve ment and going higher, and still higher. Then, too, something useful is being learned, adding an accomplishment to one's repertory, which can be enjoyed with one's acquaintances, who may themselves take part with a little patient showing. Furthermore, they teach how to amuse ones self and one's friends in a way out of the ordinary, necessitating at the same time the accompaniment of the harmony of music. Through a period extending over eighteen years the writer has been teaching sesthe-ics, with a constantly increasing demand for this beautiful and useful study, and during that time it has been ever changing, with an always increasing improvement in the technique of the art, and lie can look forward to a certain con tinuance of the health giving gracefulness of thi* comparatively new form of culture. One final word to the women of America: Study aesthetics and become contented with yourself and therefore with your entire house hold; let your sons and daughters grow beauti ful and contented through its practice And to you teachers of the art of dancing and those gymnastic instructors who have not marked, learned and inwardly digested this stud}', do so and put money in your purse. And to those laymen who have nv>t studied this gentle art, do so, and put pleasure in your life and the lives of others— Oscar Duryea THI. MERRILL-VAN LAER SCHOOL. 30. 32 AND $4 J_ East 57 th St. — Boarding and Day School for Girls. Opens October 7th. BO ITT !B«»TITHTr Fall Term Begins September SI ml I I (Rd 1 11 Ul l Evening Classes. September 28 NATHAN FRYER, AMERICAN" riAXIST. in; his Homeland. 1003-1903' GERMANY'S GREATEST I.IEDKRStNGER. Dr. LDDWIG WtiLLXER with Coenraad V. Bos. eminent accompanist. No/. 14. 1303-May, 1300. MR. HERMANN KLEIN, Lecture recital* on "English Me tion In Speech and Song." Coif-man Cow, Paul Savage. Kate >. Chittfftden, Herwegh yon fc'nde. Moral! l.anh.im. H. Kawlin* Baker. M(«i.-»i Altschaler. Daniel Gregory Msm>q. William I*. .>herman. Mme. l'A-vk yon Grave. Leslie J. Hodrs«a and other*. - Ad especial feature in the piano department is His* ('hFttentlen'* Course in Pedagogics of the .Synthetl* Method. AH Htndent* who desire to make teaching a profession will find this coarse invaluable rCPII/l PACKING SATISFACTORY EXAMINATIONS ARK GKANTKD TEACHERS' CERTIFICATE**. In each department great care has been exercised to make the work practical and helpfuL Upoai completion of the required course the Institute li:>- the power of granting degrees. » FOUR «.r ''I I Kr COURKKS of onaNiial interest and value are offered for the season of 190&-1909. m» vrrO as a number of Htngl? lectures on special topics. These courses, together with certain cla>-Mei» in Theory. «re JKM TO A 1.1. STUDENTS, and for those parsnins the resnl.tr Graduate Coarse are compulsory. m AmttfibA nm 1 1 sgi KB wia. auspices of go. id AlfltHlUAM a ||p Jg WM.KKfiSE&CO. December 24 1% %M El i I Lyric Theatre, Baltimore UCbCIIIUGI tt Si SB HB M«■ Lyric Theatre, Baltimore =KNABE PIANO EXCLUSIVELY— Florence Mulford mezzo Soprano Formerly with Cooried Metropolitan Opera Compacj-. Under Exclusive Msßije ment of HAENSEL & JONES, V, 1 East «d Street, NEW YORK. i xmoi lni: m w v<! mma t m m, h, mmm 3 129 West 46th Street, Bernice James de Pasquaii FT. ma Donna Metropolitan Opera House. Mary Louise Oassidy-Woslber, UIMI OF MUSICAL IMFHESSIONS CF POEMS, Mrs. Woelber ha? developed a very attractive system of recitals from th» poota with original musical interpretations. StM can also be engaged for popular programmes. which woulJ include pianologucs. monologues lion's and stories. Mrs. \V.~»!i"-r has baj «Me professional »«sperlence. having be»n asso- CiiteU , with *? cJi artists as Louis James. Kathryn Ki.iiler and Madam* Modj^ska. while as an individual entertainer she has appeared successfully la all the principal ci ties of America. . For terms, date?, descriptive pamphlet, etc.. aj>ire3s the WO£L El STUDIOS, 568 Park five., New York. FRANK WOELBER VIOLINIST CONCERTS — RECITALS — INSTRUCTION The Woel'er Violin Quartette The art of violin p!ay:r.» taught from the rudiments uj^rard.' Monthly stu dio recita's are given by the pupils while the more advanced students are given r.iany opportunities for playing in concert and before prominent clubs En ••■nible and orchestral training free to all private pupils Benjamin Auzelevitz. Assistant Teacher- Mr and Mrs. Woo:li»: can be eng-aged for joint recitals. Address The Woelber Studios, 566 Park Aye., New York. 23d Year Begins September 28, 1098. AMERICAN INSTITUTE OF APPLIED MUSIC (METROPOLITAN COLLEGE) *" The American Institute of Applied Mu>ic. at 51? WEST FIFTY-NINTH STKErTii New York City, is offering unusual advantage« in all departments this year, having assembled in it» <orp« of instructors such teachers of broad experience and national reputation at, William Mason. Albert Ross Parsons. Harry Kowe Shelley. Georra Josephine Ward, SOPRANO. Concert, Oratorio and Recitals. Miugimflt of J. £. mmi l«*i Br»:»dw».r.,X. T. MAY S. JENNINGS, the Coming Contralto. NEW YORK. JOHN BLAND TENOR. Oratorios, Concerts, Recitals* Management of J. E. Francke* 1402 Broadway, N. Y. STUDIO. 104 Fast 2?d S're c 7 Bariton" i I :.: ■.. 9 'prina. LEONORE WALLNER of Leipzig. Dee.. IMS- April. 1909. Dr. N. J. Elsenheimer's Lecture Kecitals on Pedalln». Tristan and Isolde. Bach. Beethoven ao*l Wagner. Parsifal. etc.