and in the third place, imbued with a knowledge concerning, and
a spirit of enthusiasm for, what free education along cultural lines
is able to accomplish in the lives of the common people. In connection
with this latter kind of knowledge, the supervisor of music will, of
course, need also to become somewhat intimately acquainted with
certain basic principles and practical methods of both general
pedagogy and music education.

We are not writing a treatise on music in the public schools, and
shall therefore not attempt to acquaint the reader, in the space of
one chapter, with even the fundamental principles of school music
teaching. We shall merely call attention to certain phases of the
supervisor's work that seem to come within the scope of a book on
conducting.

[Sidenote: DIFFICULTIES INVOLVED IN TEACHING LARGE GROUPS]

The first point that we should like to have noted in this connection
is that teaching a group of from forty to one hundred children all at
the same time is a vastly different matter from giving individual
instruction to a number of pupils separately. The teacher of a class
needs to be much more energetic, much more magnetic, much more capable
of keeping things moving and of keeping everyone interested in the
work and therefore out of mischief; he needs, in short, to possess in
high degree those qualities involved in leadership and organization
that were cited in an earlier chapter as necessary for the conductor
in general. In teaching individual pupils one need not usually think
of the problem of _discipline_ at all; but, in giving instruction to a
class of from thirty to forty children in the public schools, one
inevitably finds in the same group those with musical ability and
those without it; those who are interested in the music lesson and
those who are indifferent or even openly scornful; those who are full
of energy and enthusiasm and those who are lazy and indifferent and
will do only what they are made to do; those who have had lessons on
piano or violin and have acquired considerable proficiency in
performance, and those who have just come in from an outlying rural
school where no music has ever been taught, and are therefore not able
to read music, have no musical perception or taste whatsoever, and are
frequently not even able to "carry a tune." In dealing with such
heterogeneous classes, problems of discipline as well as problems of
pedagogy are bound to arise, and it requires rare ta