fessional
command of German. Little has so far been said concerning the college
teacher. The strong emphasis placed upon the direct method in this
article should not be misinterpreted as meaning that a fluent command
of the spoken language is a _conditio sine qua non_. Nothing could be
farther from the truth. First of all, the necessity of the exclusive
use of the direct method exists obviously only in the elementary
group. In this group, however, "conversation" in the generally
accepted sense of the word should not be attempted--it will do more
harm than good. The constant practice in speaking and hearing should
be so rigidly subservient to the interpretation and practice of the
texts being read and to grammatical drill, that only a minimum of
"speaking knowledge" on the part of the teacher is unavoidably
necessary; his pronunciation, of course, must be perfect. However
desirable it may be that a teacher should know intimately well the
language he is teaching in college, there are other requirements even
higher than this; they are, in the first group, energy, thoroughness,
and pedagogical skill, coupled with an intelligent understanding of
the basic principles of the direct method; in the second group,
literary appreciation and a sympathetic understanding of German
thought, history, and civilization; and, for the third group,
elementary philological training, theoretical as well as practical
acquaintance with the needs of the classroom, and a long and varied
experience in teaching. Rarely will all three qualifications be
combined in one person, nor are such fortunate combinations necessary
in most colleges. A wise distribution of courses among the members of
the department can in most cases be effected in such a way that each
teacher's talents are utilized in their proper places.

E. PROKOSCH

PART FIVE

THE ARTS

CHAPTER

XXIII THE TEACHING OF MUSIC
_Edward Dickinson_

XXIV THE TEACHING OF ART
_Holmes Smith_

XXIII

THE TEACHING OF MUSIC

=Music a comparatively recent addition to the college curriculum=

There is perhaps no more direct way of throwing a sort of flashlight
upon the musical activity in the colleges of America than the
statement that a volume of this kind, if prepared a dozen years ago,
would either have contained no chapter upon music, or, if music were
given a place at all, the argument woul