MENTAL HEARING. CONCENTRATION
Physical movements repeatedly performed create corresponding images in the brain; the stronger the feeling for the movement, i.e., the more the pupil concentrates while making that movement, the clearer will be the corresponding mental image, and the more fully will the sense for metre and rhythm be developed.
We might say that these movement images store up the innervations which bring about the actual movement. They are for the body and its movements what formulæ are for the mathematician.
Developed out of many movements they become a complete symbol for the rhythm expressed by the series of movements in question. Thus the pupil who knows how to march in time to a given rhythm has only to close his eyes and recall a clear image of the corresponding movements to experience the rhythm as clearly as if he were expressing it by marching. He simply continues to perform the movements mentally. If, however, his movements when actually realizing the rhythm are weak or confused, the corresponding mental images will be vague or incorrect, whilst movements which are dynamically clear guarantee the accuracy of the corresponding mental images and nerve-impulses.
In practice the exercise consists in first mastering a rhythm played, marching and beating time in the usual manner, then at hopp discontinuing all movement, either for a number of bars previously agreed upon or until the signal to resume is given by a second hopp. In this exercise the teacher ceases to play at the first hopp.
ANALYSIS AND DIVISION OF TIME VALUES
The exercises of this group are designed to teach how to subdivide units of time into parts of varying number. At hopp the crotchet must be divided into quavers, triplets, semiquavers, etc., as may have been previously arranged, or instead of hopp the teacher may call three, four, etc., to indicate the subdivision which is to be expressed by the corresponding number of steps. Apart from their direct object, the exercises of this group are of value for the training which they give in poise; they might be classed equally well with the group under Development of Mental Response.
Here, too, belong exercises in the realization of syncopation in which, as the note is represented by the usual step, it comes off the beat, the latter being indicated by a knee-bend which, in quick time, becomes a mere suggestion of movement or is omitted, e.g.,
These exercises in syncopation are perhaps some of the most difficult in the method, as they demand an extraordinary control of inhibition. Individuals of musical ability often find them difficult at first, and their easy performance may be taken as evidence of a developed feeling for rhythm. As a rule children find these exercises easier than do adults.