INSTRUMENTAL MUSIC NTIL recently, all music in our public schools has been vocal-music that the students could make themselves, with possibly an occasional artist concert, which soon becomes only a fleeting memory. The time has now come when an entirely new world may be opened to the children, to remain as their permanent possession: the wonderfully beautiful and varied realm of instrumental music. An awakened interest in instrumental music is evidenced everywhere in the increased number of orchestras, in the widespread movement for the organization of orchestras in schools, and in classroom instruction in the study of violin and piano. But the question arises: what provision is being made for pupils to learn to listen to instrumental classics played by artists and orchestras of recognized ability? Such music literature is the music itself, easily heard, loved, and understood by all. The instrumental music which the student should hear and study as a model for his own reproduction finds its flower in the symphony, which is acknowledged to be the highest type of music. The foundation for the adequate appreciation of such music should be laid in early childhood through simple types and selections, and developed in accordance with the growing powers of the child, in conformity with the principles of modern pedagogy and child study. The teacher of music appreciation has two immediate problems: first, the selection of material appropriate as to quality and content; secondly, the study of the manner of presenting the selections used. In selecting material for primary grades, the following points should be considered: (1) The selection should be strongly rhythmic in character. (2) The melody should be tuneful. (3) The music should be played by a solo instrument or by simple combinations of instruments. The violin, xylophone, bells, 'cello, or flute, are especially appropriate instruments for presenting music to little children. In this connection it should be remembered that the interest from the pupils' point of view is not in the instrument as such, but only as a means of producing tonal effects pleasing and proper for children to hear. Combinations of these instruments with others in duets, trios, quartets, and light orchestras may be used. All of the instrumental music suggested for use in the first three grades may be divided as follows: rhythmic, descriptive, and music with purely aesthetic appeal. Many selections necessarily belong to more than one of these classes, but their classification will be determined according to which characteristic is considered predominant for the present. Unfortunately, material limitations make it necessary that these types of instrumental music be treated one at a time, but it should not be so in presentation to the children. As a problem, of course, rhythm comes first, but nothing is further from our minds at this time than problems. We desire only that the child may be attracted sufficiently to want to listen, and to like what he hears. Something descriptive of things in his own world may catch his attention first, or he might be delighted with a happy rhythm or a lovely tune, just because it is lovely. Who is to say which? Let the response of the children answer. Rhythmic instrumental music, which is to be used in awakening rhythmic sense and in securing active expression from children, has been fully treated in the chapter on rhythm. There are many lovely compositions, however, whose charming rhythm attracts and delights the little people (and "grown-ups" as well). They love to listen to such compositions as the Humoresque, and happy little voices often say, "Isn't it pretty!" Such rhythmic selections (including several previously used for free expression), which we suggest should be enjoyed for their sheer beauty, will be presented with other music the appeal of which is purely æsthetic. DESCRIPTIVE AND IMITATIVE MUSIC Little children love a story, and music that tells a story within their comprehension appeals to them strongly. Such music should at first be so clearly imitative of sounds from nature and human life familiar to the child that his immediate interest will be aroused, concentration stimulated, and mental alertness and power of perception developed as the basis for later appreciation of music more abstract in character. It should not be inferred, however, that descriptive music is of value and interest merely as preparatory to music of aesthetic appeal. It is valuable and interesting for its own sake, and in it children's imaginations should find stories as compelling in interest as those they hear in the language of words. It is sometimes questioned whether music has power to tell stories unaided by suggestion. Recent experiments, |