Mu& in educationtraining and approach, was the main topic of discussion. In addition, some
consideration was given to teaching methods and to the contribution of the
professional musicians. Again there was a tendency on the part of lecturers
to base their reports exclusively on conditions prevailing in their own
countries without attempting to compare dfferent school systems and
training programmes. The result was that the information gathered remains
restricted to the countries represented.
It was generally agreed that the classroom teacher is ‘the right man at the
right place’ (H. Geraedts, Netherlands) but that his training is on the whole
insufficient (Holland, Norway). The position could only be remedied by an
improvement of music instruction in normal schools and by a policy of
‘in-service training’ based on co-operation of classroom teacher, specialist
and supervisor (H. Geraedts, Netherlands; Miss M. Hood, United States of
America).
The training of music specialists-mostly teaching in secondary schools-
is by no means uniform. It usually lasts three to four years and consists of
musical subjects, academic subjects and practice teaching, in varying pro-
portions. In some countries such training is offered by music academies
(France, Germany); in others by universities (United States of America,
United Kingdom, Norway). In France, canddates must pass a State exami-
nation; in England there is no State control whatever. The teaching itself is
sometimes done within school hours, as in the United States of America, and
sometimes it is an extra-curricular activity, as in the United Kingdom. There
seems to be no common denominator, no single answer to a problem which
will bear further investigation. As regards teaching methods, the ‘teaching
of fundamental techniques’ was contrasted with the teaching of ‘musical
appreciation’. F. Oberborbeck (Germany) reported on German elementary
schools where, many earlier methods having been discarded, hand signs are
still used; Dalcroze’s and Orff’s ideals are being followed; and all pupils
have an opportunity of learning an instrument, particularly the recorder.
He stressed the importance of the musical material used, in the main folk
songs, supplemented by GemeinschafttJmzisik resulting from a movement
known as ‘young music’ (Wolters, Lohmann and others). The Volksmuziek
school in Amsterdam follows similar ideals, although it is not part of the
school system but is intended to supplement it (Gehrels Institute presented
by Th. Lohmann). The accent is on ‘housemusic’, and pre-instrumental
training precedes the instrumental training proper. J. W. Horton, United
Kingdom, defined the whole process of music education as an unfolding of
the power of appreciation. Analysis, formulations and recording in graphic
symbols, however, should not be attempted until a mass of sense impression
has been acquired, until years have been spent in listening to and using the
language of music.
As far as the professional musician and his contribution to music educa-
tion is concerned, it was felt that reintegration should help to repair the
damage done by specialization (Bengt Franzen, Sweden). Before the nine-