seen by
those colleges which have established departments for the training of
supervisors of public school music. Such service comes eminently
within the role of the college, for a disciplined understanding, a
liberal culture, an acquaintance with subjects once unrecognized as
related to music teaching, are coming to be demanded in the music
supervisor. The day of the old country-school singing master
transferred to the public school is past; the day of the trained
supervisor, who measures up to the intellectual stature of his
colleagues, is at hand. So clearly is this perceived that college
courses in public school music, which at first occupied one year at
the most, are being extended to two years and three years, and in at
least one or two instances occupying four years. And the benefit is
not confined to the schoolroom, for an educated man, conscious of his
peculiar powers, will see and use opportunities afforded him not
merely as a salaried preceptor but also as a citizen.

=Vital function of music in college curriculum is emotional and aesthetic=

To revert to the difficulties which the college faces in adjusting
musical courses to the general scheme of academic instruction: it is
clear that these difficulties lie partly in the very nature of musical
art. For music is not only an art but a science. It is the product of
constructive ingenuity as well as of "inspiration"; its technique is
of exquisite refinement and appalling difficulty; it appeals to the
intellect as well as to the emotion. And yet the intellectual element
is but tributary, and if the consciousness willfully shuts its gates
against the tide of rapture rushing to flood the sense and the
emotion, then in reality music is not, for its spirit is dead. What
shall be done with an agency so fierce and absorbing as this? Can it
be tamed and fettered by the old conceptions of mental discipline and
scholastic routine? Only by falsifying its nature and denying its
essential appeal. Some colleges attempt so to evade the difficulty,
and lend favor, so far at least as credit is concerned, only to the
theoretical studies in which the training is as severe, and almost as
unimaginative, as it is in mathematics. But to many this appears too
much like a reversion to the viewpoint of the mediaeval convent schools
which classed music in the _quadrivium_ along with arithmetic,
geometry, and astronomy. Neither the creative power nor the aesthetic
receptivity is consid