Coiztribtitiori of the professional to nmic educationIn short, I am convinced that the young musician should be trained
in his own country and draw from his native sources. The reform
which our government is anxious to effect takes into account, as far as
the syllabus for musical composition is concerned, the principles
mentioned above.
The Milan Conservatoire, of which I am director, provides a course
in eurhythmics, to prepare the students for the Dalcroze method, the
purpose of which is to stimulate the activity of the whole body by
reactions to rhythm, melody or any other musical performance. Once
this system has gone beyond the limits of simple plastic movements,
it will be of incomparable value for the understanding and interpre-
tation of music.
As Dalcroze himself recognized, a highly-gifted musician can dis-
pense with this system; but there is no doubt of its usefulness for
students in general, and even the exceptionally talented should, of
course, be acquainted with it, if only to satisfy their curiosity.
I have spoken of the professional musician’s contribution to music
education. I have given a few details concerning my own personal
experience and have tried to explain my view of the way in which the
young student’s taste should be formed. I have not, however, told you
what I think should be done when introducing children to music. Let
it be said in a few words (and you know this as well as I do) that it is
difficult and premature to try to discover the leanings of the extremely
young (the case of Mozart is an exception); it is only later that the
signs of future talent begin to show. But, if the pupil is given vocal
and choral training, in short, a proper musical education, his possibi-
lities of doing creative work are increased. I must insist on the import-
ance of vocal and choral training, because the voice is at the source
of all creative work. Indeed, it is a well-known fact that during the
periods immediately preceding and following the Renaissance, the
composer came from the chapel. This is true of all countries, and the
first instrument is the human voice. Above all, the choral education of
the musician must be ensured from his earliest years. I am speaking of
Italy, which, it must never be forgotten, is the birthplace of the pure
vocal counterpoint of Palestl-ina.
The teacher of musical composition should himself be a composer
and practising musician, not simply a theorist. In a certain sense, he
must not concern himself with schools or syllabuses, but only with the
pupil, his psychology and reactions. It is the teacher’s task to guide
him by the living example of his own personality and of the musical
masterpieces of his own country. This was what the great painters