divisions:

1. Ear-training, leading on in later stages to harmony, counterpoint,
&c.

2. Voice production and songs.

3. Instrumental work.

4. Concerts, music clubs, &c.

To take these in order:

1. _Ear-training._

When the necessity for this work has been realized the next step is to
consider how the time can be found for it in the school curriculum.
Those who have seen some of the results in schools which have taken the
work for some years are sometimes inclined to think that a large
expenditure of time has been involved. But, provided the children have
begun the training when quite young, it is neither necessary nor
desirable for them to have more than one forty-minute lesson a week
after they have reached the age of twelve years. We must remember that
in all 'language' work the ideal plan is to begin with very short and
fairly frequent lessons. Ear-training which is to be treated on the
lines suggested will be opening up a new 'sense' to the pupil, and the
concentration necessary is such that the children cannot stand the
strain of a long lesson.

The following lengths of lessons are therefore advisable:

For children from four to seven years of age, a quarter of an hour four
days a week.

From eight to twelve years of age, twenty minutes three days a week.

From thirteen years of age upwards, forty minutes once a week.

Now as to schemes of work.

For those between the ages of four and seven the time should be spent in
singing at sight easy melodies in major keys, and in ear tests of two or
three notes at a time.

For those between eight and twelve sight-singing in minor keys and in
two parts should be added, also the dictation of melodies and of
two-part tunes. When this work is securely grasped the treatment of
chords can begin, also extemporizing of melodies with the voice,
together with transposition and harmonizing of easy phrases at the
piano.

For children of thirteen years and upwards the above can be continued,
together with sight-singing in three parts, dictation in three and four
parts, extemporizing at the piano, and more definite work in harmony,
counterpoint, and elementary composition.

After the age of fourteen it is well to make the work voluntary. By this
time it is possible to distinguish between children who are sufficiently
interested in music to make it worth while for them to continue the
work and those who will be more profitably employed in other directions.
The