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life. Such things are never paid for in money, the only reward is in the
partial realization of the standard attempted.
Another point. The ideal teacher must have real personality, and this is
a thing of slow growth, but which can be developed under expert
guidance. There must be sympathy, 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
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