has come down to us through the centuries from classical times; it has
adapted itselfin different historical periods to particular social systems,
and so has gone on crystallizing until, in our own day, it is constantly
assuming a clearer and more definite form.
Certainly everyone should be given the chance of developing his or
her musical gifts, however small, and much has already been achieved
in this direction. All these approaches and movements which have
fostered the aims already indicated were dictated by recognition of the
fundamental educational value of music. Music can exercise a direct
influence upon the formation of human character; it can impress the
human mind profoundly; it teaches certain aesthetic standards and
evokes reactions which work themselves out in widely different spheres
of human activity. The value of music, recognized in each successive
historical era inasmuch as it served the aims and aspirations of the
time, is obvious. Its importance not only provides the motive for en-
couraging the democratic spirit in music-music for one and all-but
makes it imperative that this should be put into practice as soon as
possible.
Nevertheless, there are differing views as to the manner in which
this democratization of musical education (and with it the art of music
itself) is to be achieved. As a rule, they agree in trying to ensure that
an acquaintance with music be made possible after the final stages of
normal school education. No doubt these efforts are useful and de-
serving of support, but they must be based on a sound foundation if
they are to succeed and bring forth the fruits we expect of them. This
means that the practical side of the democratization of musical edu-
cation must be centred upon the period of development in childhood
and early youth before the school-leaving age.
The problem of rendering musical culture democratic, as I under-
stand it, extends beyond the framework of elementary and secondary
school education. It relates to the sphere of specialized musical
training and to the period following upon compulsory school atten-
dance, when the boy or girl goes on to secondary school for further
general education, but above all to the years spent at the secondary
school and the university.
At first sight, the idea of making specialized musical training demo-
cratic seems a little strange. Certainly we are accustomed to regard all
types and grades of music schools as institutions primarily designed
to provide professional training for future musicians, both composers
and executants, but this conception is in fact rather narrow. Music
schools should not be reserved to the highly gifted few, but should
singke
(singke)
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