Music As A Language | Page 3

tact, and humour. In adopting the attitude of the giver instead of the receiver the young teacher is too apt to put away the remembrance of childish difficulties, and to forget the restless vitality which made her, as a child, long to fidget, and do anything but learn.
There is another thing to bear in mind. The majority of amateurs are never subject to the same criticism as the professional. Everything is 'watered down'. 'Very good' has often been the verdict of the critic, but an unspoken addition has been--'for an amateur'.
Now in a training department one of the most valuable points of the training consists in the outspoken comments. And this does not only refer to musical work, but to personal faults. We all know that if a mannerism does not interfere with the unity of a strong personality, it may be left alone. But there are some mannerisms which merely express the weaknesses of those who possess them, and which spoil the expression of the personality. These must be cured, and will be faithfully dealt with in the training department.
Lastly, if the course of training be taken in connexion with a school, opportunities will be afforded of getting an insight into general organization and schemes of work for children of all ages.
An accusation often levelled at the musical members of a staff is that they keep to themselves, and do not identify themselves with the general school life. In some cases this may be due to lack of willingness, but in the large majority it is due to lack of training in, and realization of, the unity of such life.
A student who takes every opportunity given to her during her year of training will not only learn how to organize the general musical life of a school, through the medium of ear-training and song classes, recitals, music clubs, &c., but will be ready and proud to show initiative in other directions.
We cannot do without the visions of our artists, and a country or a school, is the poorer when full use is not made of the driving force of artistic inspiration.


CHAPTER II
THE ORGANIZATION OF MUSICAL WORK IN SCHOOLS
The musical work in a school falls roughly into four divisions:
1. Ear-training, leading on in later stages to harmony, counterpoint, &c.
2. Voice production and songs.
3. Instrumental work.
4. Concerts, music clubs, &c.
To take these in order:
1. _Ear-training._
When the necessity for this work has been realized the next step is to consider how the time can be found for it in the school curriculum. Those who have seen some of the results in schools which have taken the work for some years are sometimes inclined to think that a large expenditure of time has been involved. But, provided the children have begun the training when quite young, it is neither necessary nor desirable for them to have more than one forty-minute lesson a week after they have reached the age of twelve years. We must remember that in all 'language' work the ideal plan is to begin with very short and fairly frequent lessons. Ear-training which is to be treated on the lines suggested will be opening up a new 'sense' to the pupil, and the concentration necessary is such that the children cannot stand the strain of a long lesson.
The following lengths of lessons are therefore advisable:
For children from four to seven years of age, a quarter of an hour four days a week.
From eight to twelve years of age, twenty minutes three days a week.
From thirteen years of age upwards, forty minutes once a week.
Now as to schemes of work.
For those between the ages of four and seven the time should be spent in singing at sight easy melodies in major keys, and in ear tests of two or three notes at a time.
For those between eight and twelve sight-singing in minor keys and in two parts should be added, also the dictation of melodies and of two-part tunes. When this work is securely grasped the treatment of chords can begin, also extemporizing of melodies with the voice, together with transposition and harmonizing of easy phrases at the piano.
For children of thirteen years and upwards the above can be continued, together with sight-singing in three parts, dictation in three and four parts, extemporizing at the piano, and more definite work in harmony, counterpoint, and elementary composition.
After the age of fourteen it is well to make the work voluntary. By this time it is possible to distinguish between children who are sufficiently interested in music to make it worth while for them to continue the work and those who will be more profitably employed in other directions. The latter will have learnt how to take an intelligent interest in music, and how to 'listen' when music is being performed. The classes will now