But a music educator is a person who takes charge of musical acti-
vity in larger groups. He must have a complete musical training, and
also a wide knowledge of general and educational psychology. He must
be able to lead as well as work with people, and have a humanitarian
and social approach to music.
The composer, the performer and the educator have been separated
jn such a way that music education has lost something. And that is
why the music educator is now anxious to open up new ways for colla-
boration.
First let us look at the performer. What can he give us? Without him
many of the greatest masterpieces would remain unappreciated. If we
believe that music appreciation is a good form of education, we must
provide the pupils with good music. That can be done at ordinary con-
certs, but better at concerts of a special educational type, where the
artist not only performs works from his usual concert repertory but
also music in its minor forms.
We are glad that the performers more and more understand the
necessity of educating young people to become good listeners : the
psycholoSica1 effect on the young when they hear famous musicians
play especially for them is of great value. But this psychological effect
should be used much more. In schools, funds are often reserved for
lectures by great scientists on different subjects. It should be as easy
for funds to be allocated for inviting great performers of music to
the school.
In Sweden we have a great many community music schools. Even
there it would be of great value to have good performers as teachers.
My colleague, Yngve HarCn has, in his school in Nacka, been a pioneer
in this respect. Three good performers have given up their work as
professional pianists and are now purely teachers.
Now the composer: it is an idea handed down from the romantic
era that the composer is a person who creates just for the sake of
creating. Earlier he made music for a special purpose. It is a good
starting point for a composer in our time to let the need of music in the
community be the motive for his creative work. Hindemith, Britten
and Orff are good examples of this. In Sweden in the last few years
some young composers have written music in modern style for
children-music which has also been used in schools and performed on
the radio. Another example: in Stockholm there is an association,
called Fylkingen. It consists of young composers, musicologists and
performers and its aim is to make modern music known. In the three
last years this association has organized concerts for children with the
singke
(singke)
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