ered in such courses as these, and the spirit of
music revolts against this confinement and gives its pedantic jailers
no peace.

=The practical course as disciplinary as the theoretical=

Shall practical courses in playing and singing be accepted? Now the
objection arises that any proficiency with which a student--at least a
talented one--would be satisfied, entails hours each day of purely
technical practice, involving little of the kind of mental activity
that is presupposed in the tradition of college training. Those
institutions that have no practical courses are logical, at all
events, and seem to follow the line of least resistance. But the
opposition against the purely theoretical side of musical culture will
not down, and the "practical" element makes steady headway as the
truth shines more dearly upon the administrative mind that musical
performance is not a matter of mechanical technique alone, but of
scholarship, imaginative insight, keen emotional reaction, and
interpretation which involves a sympathetic understanding of the
creative mind. The objection to practical exercise dwindles as the
conception of its nature and goal enlarges.

=Lack of college-trained teachers adds to difficulty of recognizing
music as a college subject=

Another hindrance presents itself--not so inherent in the nature of
the case as those just mentioned--and that is the lack of teachers of
music whose educational equipment corresponds in all particulars to
the standard which the colleges have always maintained as a condition
of election to their corps of instructors. That one who is not a
college graduate should be appointed to a professorship or
instructorship in a college or university might seem to a college man
of the old school very near an absurdity. Yet as matters now stand it
would be impossible to fill the collegiate musical departments with
holders of the A.B. degree. The large and increasing number of college
graduates who are entering the musical profession, especially with a
view to finding a home in higher educational institutions, is an
encouraging phase of present tendencies, and seems to hold out an
assurance that this aspect of the college dilemma will eventually
disappear.[99] It is possible, however, that the colleges may be
willing to agree to a compromise, making a distinction between the
teachers of the history and criticism of music and those engaged in
the departments of musical theory and performance.