But he has not always the gift of words by means of which he can describe this function.

We want our artists, and their visions, and those of them who can realize a perspective in which their art takes its place with other educative forces are among the most valuable educators of the rising generation.

ETHEL HOME.
KENSINGTON,
January, 1916.

CONTENTS

[I. THE TRAINING OF THE MUSIC TEACHER][9]
[II. THE ORGANIZATION OF MUSICAL WORK IN SCHOOLS][15]
[III. THE TEACHING OF VOICE PRODUCTION AND SONGS][20]
[IV. THE SOL-FA METHOD][26]
[V. FIRST LESSONS TO BEGINNERS IN EAR-TRAINING][31]
[VI. THE TEACHING OF SIGHT-SINGING][35]
[VII. THE TEACHING OF TIME AND RHYTHM][40]
[VIII. THE TEACHING OF DICTATION][43]
[IX. THE TEACHING OF EXTEMPORIZATION AND HARMONY][48]
[X. THE TEACHING OF ELEMENTARY COMPOSITION][55]
[XI. THE TEACHING OF TRANSPOSITION][60]
[XII. GENERAL HINTS ON TAKING A LESSON IN EAR-TRAINING][65]
[XIII. THE TEACHING OF THE PIANO][70]
[XIV. SUGGESTIONS TO STUDENTS ON LEAVING A TRAINING DEPARTMENT][79]

CHAPTER I

THE TRAINING OF THE MUSIC TEACHER

Let us consider the case of a young girl who has finished her school education, and has supplemented this by a special course of technical work in music, which has ended in her taking a musical diploma. She now wishes to teach. What are the chief problems which she will have to face? She must first of all make up her mind whether she wishes to confine her work to the teaching of a solo instrument, together with some work in harmony or counterpoint, along orthodox lines, or whether she wishes to be in touch with modern methods of guiding the general musical education of children, as taken in some schools in the morning curriculum. If the latter, she must enter on a course of special training.