MUSIC The teaching of music at the beginning of the present cen tury was practically confined to class singing, but with the in creasing recognition of the subject as an educational force, a de mand for more scientific methods arose. All the newer ones worthy of serious consideration tend in the same direction; the under standing of music. While the method of singing classes has been retained, the work has been carefully graded. Certain apparatus is practically indispensable. (I) Song books containing a large selection of national or folk songs ; graded sight singing books; small manuscript books. Copies should be available for every pupil. (2) Sheet music, modern and classical, from any of the now widely known series of school songs. (3) A good pianoforte in a spacious room, preferably on a raised platform. (4) Wall blackboards, with the lines of the stave at least 2 in. apart, and a modulator. A gramophone, or a pianola will be found very useful for certain kinds of teaching. Some schools also make use of the wireless. For quite young children a set of percussion instru ments is often provided, and a percussion band is formed, with frequently excellent results.
Practically all teachers agree that the sol fa system of pitch names and key relationship, as shown on a modulator, should be retained ; but the exact stage for the introduction of the staff notation is still debatable. The more modern method is to begin at once with the staff notation in the lowest class, and to dis regard the sol fa notation as such, while applying the sol fa method to the staff notation. (See MUSICAL NOTATION.) From the elementary training of the ear, and simple musical dictation, to the understanding of a movement of a symphony is now one con nected chain of teaching. Two important links in the chain are the study and the writing of short melodies, and the study of simple binary and ternary forms. The term "musical apprecia tion" is often used in this connection. It means, of course, teach ing children to understand music, inculcating in them, at least in some small degree, the faculty of discrimination. Aural culture has been well described as "educating future audiences." The comparatively recent revival of folk song and folk dance has had a remarkable effect on the teaching of music. Folk music
has given teachers a new criterion. Simplicity, directness of ex pression, rhythmic freedom, unfettered melodic outline, and modal tendency are to be noted in these melodies. Before leaving school, a boy or girl should know a great number of these lovely songs and dance tunes.
The theories of Jacques Dalcroze have found wide acceptance in schools. Put briefly, his method is to teach music through movement and gesture. Much, however, depends upon the quality of the teaching, and a preliminary course of training is necessary. (See EURHYTHMICS.) The old idea that a boy should drop singing when his voice breaks is now discredited by many enlightened teachers. If he is taught to use his newly-acquired "man's voice" with discretion, no harm will ensue. In any case it is not necessary for his general musical education to cease. The formation of a voluntary musical society or club in a school will be found to react favourably on the school music by interesting and inspiring its members.
A golden rule is to conduct as little as possible for simple songs. Many teachers have given up the use of a baton, conducting with the hand only.
The time table should be carefully planned. The time given is often a minimum, especially in the upper forms, owing to the re quirements of examinations, though there are hopeful signs that singing will take a more prominent place in these forms than in the past. (See also MUSIC, TEACHING OF.) (G. SH.) ART When it was first introduced into the schools, whether elemen tary or secondary, the teaching of art was based on the old academic system, whose ultimate aim was technical attainment. The course started with exercises in the drawing of perpendicular, horizontal or oblique parallel lines, followed by similar graduated exercises in curves, leading up to the development of several motifs, with the Greek Anthemion or acanthus as their final objective. Geometry and perspective were then introduced and the knowledge thus acquired was brought to bear on model draw ing, which was taught in the same methodical manner.