First, the children listen to a portion of the music, thinking what the music tells them to do. Secondly, all children express in bodily activity anything the music says to them.

Children will instinctively watch each other, and quite naturally the next step will be for them to criticize each other, and finally to pick out the several interpretations that they think are best.

Then the teacher enters into the discussion, and by adroit questioning, leads to the question of why “Donald's" is best. This "why" turns the attention to the technic of the dance.

After further discussion, the children will finally settle upon one or two that they are willing to accept as a standard.

All watch the child leader, then all do it again.

It has been proved much safer to allow this standard to be set by the children. When the teacher illustrates by her own action, there is not the initiative on the part of the children thereafter, but rather a tendency to imitate the teacher arbitrarily.

It is very important that the child leader be selected by the children themselves, with only indirect leadings from the teacher. It must not take on the aspect of displaying the more talented ones, but must be an encouragement and a model for all to try.

In rare cases, where there is no one who seems to be moved to do any particular thing, it is better to invite some child to come back from last year's class than for the teacher to set a standard for them.

Great care has been exercised in selecting the following Victor records, which are very simple and very rhythmic, the use of which will make free expression work possible in

any kindergarten or primary school room. In beginning the work, only the first strain of each number should be used over and over.

Pizzicato is a great favorite for the first steps in "doing what the music says." Grétry Gavotte (Record 64198) is slow enough and very definite and simple for beginning work. The following list is suggested for free expression work:

SUGGESTED EXPRESSION

Suggestions as to the interpretation or a proposed bodily expression of music may come from the title of the selection, or from the teacher or leader, and are limited only by the ingenuity of the latter.

Children love action, and the joy of moving with the music will cause them to listen, that they may "keep with the music," and so begin a conscious hearing. With conscious hearing comes the beginning of discrimination.

No better means can be devised than to appeal to the play instinct of the child. To step as high-stepping horses step, to fly as birds fly, to bounce balls as the music indicates, skipping, marching, tip-toeing, rocking a cradle -all these devices are pure play to the child, but to the teacher they are the development of rhythmic ideas and their coördination with bodily expression.

*Record in preparation

Then there are the more set responses, such as regular calisthenic drills given to music, and the unlimited variety of suggestions which the teacher may incorporate into a game that the children like to call "follow the leader." If given to an entire class when seated, these would include any rhythmic motions of hands and arms, and orderly clapping to accent. Sudden and unexpected changes by the "leader" stimulate alertness and observation.

The same idea has come down to us in the old French game, La Mist' en l'Aire (playing a tune in the air), and in the singing games, Did You Ever See a Lassie and Punchinello.

Making long and short marks on the blackboard in response to the strong and weak pulses of a march is a fascinating “game," and has direct bearing on later writing to music.

Hand clapping was the first primitive attempt at rhythmic expression, and still remains the earliest response of a baby child to rhythmic stimulus. Clapping or marking should be given first only with the strong accent, and later with strong and weak.

"Playing orchestra" furnishes an opportunity for rhythmic response and suggested expression, which at the same time develops observation and interest in the instruments of the orchestra. At first, all the children may be allowed to pretend to play violins, or some one instrument, with the music, later it is more interesting to divide the class into several sections.

"These two rows may play violins. How do you hold a violin? What do you hold in your right hand? Place the bow on the strings -So. Now all together-out, in, out, in. In a fine orchestra all the players bow together. The next two rows may play drums. Would you rather play a little drum or a big bass drum? Next row may play pianos. And (to the next row) did you ever see those big

horns that are played-so? They are called 'trombones.' Let's all hold our trombone in our left hand. Now, with the right hand— out, in, out, in.

"I shall be leader of the orchestra.

The leader of an orchestra

is called by the same name as the man who runs a street car or train. Yes-conductor.' When a conductor speaks to his orchestra he can't use words, because if every one is playing no one could hear him speak. So he talks to the orchestra with his hands. When he does this (raising the hands for attention) he means, 'get your instruments ready.' When he does this (downward beat) he means to play, and he can't say anything at all to his men unless they look at his hands. Now let's practice."

If the teacher will be strict to see that no one plays the pretended instrument before the conductor's signal, as he would do if it were a real instrument, our little game will furnish exercise for self-control and actual practice

in ensemble playing. Now start a march record, all playing imaginary instruments with the music, but following the conductor for the signal to start and stop. Allow various children from the class to take the baton and play conductor, beating time precisely with the music. Such opportunity for selfexpression draws out a dormant rhythmic sense, helps the bashful child to overcome self-conscious

ness, and teaches the obstreperous one to direct his energy. Any good brass band march from those listed in the Graded School Catalogue will make a proper accompaniment.