Mmic iti education
and a working knowledge of the corresponding teaching process.
Moreover, they expect a teacher to have the equipment and train-
ing to teach the ‘three Rs’ as well as the social and natural sciences.
The time left for art and music in a four-year programme is very
meagre. The music study usually consists in a one-semester course, two
hours or two points, in the general appreciation of music, and another
semester course consisting of problems in teaching music, gaining
some knowledge of the fundamentals, and acquiring a limited reper-
toire of songs for teaching at different age levels. Some of these future
teachers, who are interested, may elect to study piano, sing in the col-
lege choral groups, or study an instrument so as to be able to play in
the band or orchestra.
It is due to the lack of adequate training in their college programmes
that most rural and classroom teachers approach the teaching of music
with fear and misgivings. Then when standards of technical proficiency
are imposed upon them by music supervisors and other music teachers,
the job seems completely futile and in many instances they refuse to
do it.
It seems doubtful to me whether, in the overcrowded teacher-train-
ing programme for rural and classroom teachers, adequate time can
be added for these teachers to gain the necessary controls to give them
confidence in teaching music, where the goals are technical facility and
appreciative discrimination. But if the courses are set up to make them
realize the joy of participating in various musical activities for their
own immediate satisfaction, then they can join with the children in
making music together at the level of technical proficiency which they
may have at the time. The music period will be one of informality,
and a co-operative spirit will permeate it. The teacher with an innate
musical sense can gradually lead children into a desire to increase their
understanding of standard compositions. And with the mechanical
aids available today, a profitable and even an enriched programme
of music can be carried on in the rural school.
Many teachers’ colleges in the United States are endeavouring to
set up their training courses for rural and classroom teachers to deve-
lop this wholesome receptive attitude toward music activity. It is pre-
sented not as a formidable skill to be mastered by untalented people
in a limited time, but as a natural expression of daily living, and the
activities are geared to ensure participation without continuous fear
of failure. If this attitude can be carried into the classrooms, the music
will contribute to fulfilling the educational goals of our rural schools,
namely happy, suitable and useful citizens for a democracy.