ct and skill in
working out details of procedure, as well as a broad vision of the
ultimate end to be accomplished, to bring order out of such musical
chaos. And yet precisely this result is being secured by hundreds of
music teachers and supervisors all over the country; and the musical
effects of a fifteen-minute daily practice period are already
surprisingly evident, and will undoubtedly become more and more
manifest as the years go by. The outlook for the future is wholly
inspiring indeed; and no musician need fear that in taking up public
school music he is entering upon a field of work which is too small
for one of his caliber. The only question to be asked in such a case
is whether the teacher in question is big enough and is sufficiently
trained along musical, general, and pedagogical lines to handle this
important task in such fashion as to insure a result commensurate with
the opportunity.

[Sidenote: THE ADVANTAGES OF AN ATTRACTIVE PERSONALITY]

Charm of personality has a great deal to do with the success of many
directors of children's singing. School superintendents are well aware
of this fact, and of two equally capable candidates for a school
position (especially one involving work with small children) the
supervisor who is attractive in appearance and neat in attire, is
almost sure to be chosen. We mention this fact not in order to
discourage those not possessing an average amount of personal charm,
but to encourage them to take physical exercise, and by other means to
increase the attractiveness of their physical appearance; to enhance
their charm further by tasteful dress; and most important of all, to
cultivate a sprightly and cheerful attitude (but not a patronizing and
gushing manner) toward children as well as adults. Attractiveness of
personality may be increased further by the cultivation of refined
language and a well-modulated voice in speaking, as well as by
schooling oneself in the habitual use of the utmost courtesy in
dealing with all people.

[Sidenote: DIRECTING YOUNG CHILDREN]

In the lower grades, it is best not to conduct formally with baton in
hand, but rather to stand (or sit) before the class, and by facial
expression, significant gesture, bodily pose, _et cetera_, arouse an
appropriate response to the "expression" of the song. Every song tells
a story of some sort and even little children can be caused to sing
with surprisingly good "expression" if the teacher makes a consiste