principles
underlying the system, which are those accepted by modern educators as
the psychological basis of all education. From her point of view the
music lesson may be made attractive from the moment the pupil is placed
at the instrument.

Time is taught by her as a mental science, with the pulse as the central
fact. She proceeds rhythmically rather than arithmetically, making
constant appeals to that within the child which is associated with
music. As the ear is expected to verify every fact, whether of time or
pitch, she deems essential to profitable practicing the daily
supervision of some person who understands the teacher's requirements.

Many times a child who can readily explain the relative value of every
note and dot will stumble in the time movement when confronted with a
mixture of the same notes and dots. This is because no mental
connection has been established between the mechanical time sign and its
sound, which is the outgrowth of instinctive impulses. Time confusion
may also be caused by confiding too implicitly in loud and persistent
counting, instead of trusting to the intelligently guided rhythmic
pulse.

The keenness of musical perception in the blind is a subject of frequent
comment. It is due to the fact that neither outer nor inner ear is
distracted by the organ of sight, and the mind is compelled to
concentrate itself with peculiar intensity on the tone-images aroused
for its contemplation. When one of the senses is weakened or lost, the
others become strong through the requirements made on them. This shows
how much may be gained in music study by throwing responsibility on
those faculties it is desirable to develop.

There are numerous promising schemes for class work in operation in our
own country, some of them offering excellent advantages to the student.
From the music study in our public schools valuable results ought to
come in time. Thus far, unfortunately, it is too often conducted by
teachers who are themselves without trained musical ability and who
permit their pupils to shout rather than sing music of an inferior order
to the accompaniment of a piano wretchedly out of tune.

The much beloved Phillips Brooks once said: "A school song in the heart
of a child will do as much for his character as a fact in his memory, or
a principle in his intellect." Unquestionably a love for good music,
inspired during the formative period, is calculated to open unlimited
possibilities, and o