Composition

Smith began publishing for children in 1887, with her first volume of children's music entitled Songs for Little Children, Part 1.^[9] She was a proponent and follower of the teaching philosophy of Friedrich Fröbel. Smith incorporated Fröbel's ideas that childhood is a universal experience in which children learn by imitation, using their natural abilities. Her compositions also recognized that children learn by movement and play, but have limited attention spans. Thus, the compositions she created were usually short melodies with limited vocal ranges that were easy to sing.^[10] The songs were in major keys- typically C, F, and G- and extended only from C4 to F5. She composed most of her melodies as stepped triads^[9] and provided pauses for activity. For example, in her song "The Wind Mill" there is an eight measure rest for the children to make the motions of the turning blades.^[11]

Eleanor Smith, 1901 newspaper photo from the article about her music for Morris Rosenfeld's poem "Sweat Shop"

In 1894, after Smith returned from Germany, she published her second volume Songs for Little Children, Part 2.^[11] As in her previous work, most of the songs were in major keys, with the most common being A-flat major and E-flat major. Second, third, fourth and fifth intervals were typical in her voice scores with the piano accompaniment creating interest through varied rhythm patterns.^[12] In this volume, most of the compositions were Smith's own work, though some of the pieces were adaptations of German folk songs.^[13]

Smith's first textbook series, The Modem Music Series, in six volumes^[1] was published in 1898 by Scott, Foresman and Company, with rights later purchased by the Silver Burdette Company. It was a collaboration with Robert Foresman, another music educator who believed that children should be allowed to learn intuitively. ^[14] It set forth a new movement in music instruction which rejected the traditional sight singing memorization method of training and instead relied on the "song method".^[5] In this type of instruction, students learned the skills for reading music from a combination of interval recognition, ear training and observation of songs.^[11] The books were successful, using many of Smith's own songs and became the basis for similar textbooks based on her ideas and works,^[5] such as the publication in 1909 by Charles H. Congdon called the Congdon Music Readers series, which incorporated 21 songs by Smith.^[15] Smith published a second textbook series, The Eleanor Smith Music Series, in 1908,^[5] which also contained six volumes and was widely distributed in US public schools.^[16]

In 1910, Smith published Songs of a Little Child’s Day, which included 66 songs of original compositions by Smith and text by Emilie Poulsson. The songs focused on a limited range to make it easy for high-pitched children's voices to sing the works and most of the songs contained sixteen bars or less. Accompaniment lines for the piano duplicated the vocal lines, but had artistic flourishes, such as a section in the piece "The Busy Wind", which used a repetitive pattern of sixteenth notes to imitate the sound of blowing wind.^[13] In honor of the 25th anniversary of Hull House, in 1915, five of Smith's compositions were published as The Hull-House Songs. The themes represented social issues which were prevalent at the time, including "The Land of the Noonday Night" about mining safety, the "Suffrage Song" about women's voting rights, and "The Shadow Child" about child labor, with words penned by poet Harriet Monroe.^[5] As early as 1901, she wrote compositions for poems with social themes, such as the work she created for Morris Rosenfeld's poem "Sweat Shop".^[17] Other works Smith authored include: "Song Pictures"; "Twelve Songs for Twelve Boys";^[16] "The Golden Asp" (cantata); "Wedding Music" (No. 1 and No. 2); "Trolls' Holiday" (operetta); and "Twelve Songs".^[1] Her works continued to be popular into the 1980s, attesting to the quality of their composition.^[18]

Teaching

Hull House

Smith arrived at Hull House in the autumn of 1890 and, shortly after her first visit, ^[5] began to give voice and piano lessons to both children and adults. Initially, free concerts were given on Sunday, both to uplift the community and to highlight the talents of the settlement house teachers and musicians. Between November 1891 and April 1892, there were 22 Sunday concerts held at Hull House before the music school was officially founded.^[19] Smith was one of the founders of Hull House Music School the following year, which became the first settlement music school in the United States.^[1] She invited one of her friends from Germany, Amalie Hannig, who had been teaching piano at the Klindworth Conservatory to help her with the school. Hannig taught both piano and voice^[7] at the school until 1898. Mary Rozet Smith, one of the benefactors of Hull House, provided the funding to establish the school.^[20]

In the late 1890s, Jane Addams and Smith had a disagreement over Hull House's Sunday concerts. Smith, a classically trained musician, felt that the purpose of the events should be to present educationally challenging programs. Addams, however, felt that the programs should feature more popular music to promote Hull House and recruit broad audiences to experience the environment which the settlement house offered.^[21] They finally reached a compromise at the turn of the decade, with Sunday concerts featuring music with popular appeal and weekday evening programs focusing on more challenging material. However, the disagreement over content ultimately lead to Smith's resignation in 1901.^[22] Though Addams did not relent on the Sunday content, she was able to persuade Smith to remain otherwise.^[23]

Smith's singing class at Hull House in 1929. Pictured seated at the piano.

Smith's teaching style differed from conventional music instruction at the time in that she required instrumental students to study voice.^[24] Piano, organ and violin instruction was offered^[2] by 1907. Gertrude Madeira Smith,^[20] Eleanor's sister,^[2] gave organ instruction and Charles Moerenhout of the Chicago Orchestra taught violin. Five assistants also helped the teachers.^[20] Smith felt that adding vocal training gave a level of experience that was neglected by singular focus on memorization of scales and structural drills usually prevalent for those learning instruments. She also incorporated songs from the students' homelands as a way to intermingle their old cultures with their new lives^[24] and made efforts to involve their parents in the development of the curricula. As a progressive reformer, Smith advocated that inclusive diversity was a means of building a cosmopolitan citizenry united by pursuit of music excellence.^[25] She also encouraged students to compose music from their earliest instruction and to recover songs from their cultural backgrounds.^[26]

Hull House Boys Band

As well as teaching music at Hull House, Smith served as its choral director. She also composed songs^[2] and arranged music specifically for her students to perform.^[24] She initiated an annual Christmas concert which also included a dramatic presentation and was eagerly anticipated by the neighborhood for its holiday pageantry.^[5] Under her direction of the music school, the Hull House Boy's Band developed, which included immigrant boys from the neighborhood who would later become noted jazz performers. Jazz pianist Art Hodes recalled that one of the first jam sessions he ever had occurred when a young clarinetist named Benny Goodman joined the Boy's Band. James Petrillo, who later led the American Federation of Musicians, a musician's union, was also a member of the group.^[27]

In addition to her work at Hull House, Smith was involved in public education. Francis Wayland Parker invited her to head the vocal music department at the Chicago Normal School in 1897^[5] and John Dewey asked her to teach at the University of Chicago^[2] as the head of the Department of Music, School of Education from 1901 to 1910.^[1] She not only trained teachers for Dewey but assisted him in developing a revised curriculum for the music education program.^[5] Smith also instructed courses at the Chicago Kindergarten College^[2] and at the Froebel Kindergarten College, both training colleges for teachers of very young children.^[5]