Mu& in education
indeed on all the forms which contemporary music education has
revealed to us. The purpose of musical education is thus not so much
to awaken the critical and comparative faculties, as to develop the
capacity for general artistic appreciation and enjoyment,
Our third article of faith relates to the unity of music education and
ethical religious feeling. Everything our souls have experienced in the
way of music education in Europe throughout this long, rich history,
everything for which we have worked and struggled, hoped and
feared, is in this solemn hour condensed into a creed that fills our
hearts and minds like an endless cantzrsfirmzls. Music education is more
than music; it is both music and religion, music and faith. We must
have the driving power of ethics and religion in all music education,
for without it the very essence of music, of education and of all art is
changed into its opposite. In the last resort, we owe our very breath,
our life, our being, our power consciously to fulfil and consummate
our true nature, to our artistic and ethical beliefs!
[Trandated from tbe German JMUSIC EDUCATION
IN EUROPEby
Eberhard PREUSSNER, Professor, Mozarteum, Salzburg (Austria)Musical education in Europe is a complicated subject, full of problems
and open questions. Though the continent is small, the sweep of its
culture is vast, both in variety and in antiquity. The intellectual pio-
neers of Europe who built this culture up throughout the centuries
were incorrigible individualists with widely differing views on life and
civiliiation. From Plato to Rousseau and Pestalozzi, and on to the
great modern exponents of a new Europe like Ortega y Gasset and
Albert Schweitzer, including perhaps one or two of the existentialists,