tionise our
conception of teaching: the old standards are fast becoming obsolete.
Once the idea of education was more or less to get something into the
pupil, the newer ideal is to get something out: instead of compression
or repression the process is now regarded as one of expression. We aim
at developing the latent faculties and exploiting the hidden resources
of the mind. It is assumed that the various qualities and abilities are
embodied in mind, just as the possibilities of the oak were implanted
in the acorn: it is the function of the teacher to ensure the requisite
conditions under which these qualities may come to fruition.

From this it is clear that the modern teacher is more occupied in
teaching the pupil than the subject. The old method of grinding in
scales, scales, and yet more scales until those scales had become second
nature is recognised as being worse than merely futile. What can it
profit a pupil if he gain the whole world of scales and lose his
artistic soul? So also with other points, the centre of attention is
transferred from the subject to the pupil. Furthermore, the wise teacher
recognises that as music is a part of life, so the understanding of
music should lead to a larger comprehension of life. There are no
watertight compartments in our lives, everything is acted upon and
reacts: all life is of a piece, and nothing comes out of the mind in
exactly the same condition as it entered. Things become transformed and
assimilated in the process of mental digestion. Consequently the
discerning teacher knows that he is working in terms of life through the
agency of the music. He is helping to modify, form, or transform the
mind of the pupil through his memories, he is moulding his character:
and his character weighs in the eternal scales. The teaching thus
stands on a base that is wider than life itself, and such a teacher is
invested with a dignity and worth that can never attach to the
time-server or the crammer.

The Royal Academy of Music gives the Licentiate diploma for (_a_)
teachers and (_b_) performers: this is a technical distinction without
any real difference. It is the function of both alike to reveal and to
pass on a message of spirit. The performer passes it on to an audience
of many, and the teacher to a little audience of one. Teachers are
"artists to whom the most priceless material has been committed."[16]
There is an idea abroad that those who are not clever enough to perform
can