Mmic in educatioa
good place in which to hear music brought to life and made accessible.
As these children will be the audiences of tomorrow, there is no point
in restricting their study to the superficial level to which acquaintance
with ‘official’ music has confined them for so many years. On the
contrary, they must be led into an awareness of art, and allowed to
decide for themselves which composers they prefer. This will result
in the gradual building up of a genuine and widespread taste for
music, which it will even be possible to guide towards certain modes
of expression peculiar to modern music-or, let us say, towards
certain of the most significant composers. Training the taste of the
youngest listeners may thus restore direct contact between the crea-
tive artist and his public. This will enable the composer to keep
watch, as it were, over his talent and to become conscious of his
mission while serving the true purpose of art-which is, not to
conduct experiments in solitude, but to set before mankind the
works it longs to hear.
[Translated from tbe French]
SCHOOL MUSIC EDUCATION
IN NORWAY
bY
Ingeborg KINDEM, Supervisor of Music Education in OsloThe Norwegian general education system is based on the principle that
only professional teachers specialized in the technique of classroom
teaching should be entrusted with elementary and secondary education.
Those in the elementary schools have attended teachers’ colleges and
those in the secondary schools have spent an average of seven years
study at a university.
This rule &o applies to music teachers at all levels who should
belong to the general teaching staff and be instructing in other subjects
besides music.