Music
The aim of music teaching considered as part of a school curriculum should be rather the cultivation of a taste than the acquirement of a proficiency; it should lay the foundation for intelligent study and enjoyment of music in after life. Solo singing should not be taught, because among other reasons it puts too heavy a strain on the adolescent voice; solo playing should be restricted to those cases where there is evidence of real keenness and aptitude. Music should be made a corporate activity in which, so far as possible, the whole school may share.
It is certainly advisable that the teaching should be in the hands of one expert instructor, with such assistance as may be necessary in the case of a big school. It is most desirable that this instructor should be not a visiting teacher but a member of the permanent staff, who would share to the full the position and responsibilities of his colleagues. This does not necessarily mean that he should teach music alone (in a large majority of cases this would be impracticable) but rather that among the qualifications of at least one class teacher should be included a knowledge of music and a capacity for teaching it.
We may assume that the children come on from the elementary school having already had some experience of chorus singing, some practice in voice production and some opportunities of hearing good music. In many cities, children's concerts have been organised with excellent effect; in many schools it has been found possible to set aside some short period of time every week at which the children should have the opportunity of listening to music - pianoforte or gramophone - with a few words of explanation on the structure of the pieces. It cannot be too strongly emphasised, both here and through the rest of the musical curriculum, (i) that no music should be admitted which is not first-rate of its kind; and (ii) that the kind should be determined in close relation to the age and inexperience of the listeners. Children, for example, find it difficult to keep their attention fixed on a long and abstract piece of instrumental music, and it should be remembered that as soon as the attention flags the meaning evaporates. If, in addition to this, the children can be taught in the elementary schools the first rudiments of notation, sight-reading, etc., so much the better; if not, these must be undertaken in the lower forms of the post-primary school.
The first suggestion which may be made is that on every day of school attendance there should be ten minutes' choral singing, either by classes or preferably by the whole school together. If possible, it should take place at the beginning of the morning session, but the actual time might be determined so as to fit in with the general convenience of the school. The time expended will be far more than repaid by the better sense of discipline and the greater alertness of mind which will be developed and encouraged. 'The chief advantage of singing,' an eminent prima donna once said, 'is that you cannot be out of temper while you are doing it'; and although this may be considered an accessory rather than an essential of the art, it is one which all who have to do with discipline might very well bear in mind. For the lower forms of the school the songs should be chosen principally out of good national song books; in the upper forms other anthologies might be used, such as Dr Arthur Somervell's Golden Treasury. Care should be exercised throughout that the songs should be of the highest quality and that they should appeal to the melodic and especially to the rhythmic sense of the children. Recent experience has shown that this can be effected without difficulty and with admirable results. Schools which, a few years ago, were singing deplorable little ditties, written, apparently, for the purpose of being introduced into school books and equally devoid of melody and of meaning, are now singing 'The Vicar of Bray' and Cecil Sharp's folk songs and Parry's 'Jerusalem' to their great and lasting advantage. They sang the bad music, not because they preferred it, but because they knew no other. In every field of art, and perhaps more in music than in any other, the reverse of Gresham's law prevails and the good drives out the bad.
In addition to the choral singing there should be, if possible, two periods a week devoted to musical instruction. One of these should deal with sight-reading and particularly with musical dictation, with such developments and expansions of this as the teacher may find time or opportunity to pursue. Every child who passes through a post-primary school should be able to read staff notation; the earlier he begins the better, for the less chance will he have had of hearing that it is a difficult and recondite process. To read a single line of melody is in no way more difficult than to read a single line of verse; the notation has to be learnt i