Contribution of the professional to music educationnal profession, the subsequent disappointment hampers them in their
work. This conflict must be solved with the help and the understanding
of professional composers and performers and by the gradual aban-
donment of the romantic view of the artist’s role. Only under these
conditions can the creative and performing work of the educator effec-
tively influence his educational work.
Of course, composing and performing by the teacher in his daily
work cannot, in any way, diminish the need €or the contribution of the
real composer and the instrumental artist without whom aesthetic edu-
cation can never be raised to a high level. Eventually, extended music
education will increase the contact between children and music and,
as a natural consequence, many situations will occur where the music
educator will have practical need of collaboration with the other two
categories of musicians. I wish every composer, performer and con-
ductor knew how much this collaboration-including presence at
rehearsals, music hours, and the active performance of music by
youth-would intensify the children’s interest in music and support the
teacher’s feeling that he is not isolated from the artistic world of music.
The composer, educator and performer have a common aim: to
enrich other people by the medium of music. The all-important need
is for understanding and collaboration.
THE PUBLISHER’S
POINT OF VIEW
by
Pietro MONTANI, Principal, Casa Ricordi, Milan, ItalyAs principal pianoforte teacher in the State conservatories of Florence
and Milan, and music adviser to the well-known publishing firm of
Ricordi which I represent at this conference, I feel that I can speak
with full knowledge of the part played by the publisher in relation to
music education.