en the intellectual and the artistic work of the schools.

Jaques-Dalcroze's experience suggests the possibility of a much closer
combination of these two elements, both in elementary and in secondary
education. His teaching requires from the pupils a sustained and careful
attention, is in short a severe (though not exhausting) intellectual
exercise; while at the same time it trains the sense of form and rhythm,
the capacity to analyse musical structure, and the power of expressing
rhythm through harmonious movement. It is thus a synthesis of
educational influence, artistic and intellectual. Its educational value
for young children, its applicability to their needs, the pleasure which
they take in the exercises, have been conclusively proved. And in the
possibility of this widely extended use of the method lies perhaps the
chief, though far indeed from the only, educational significance of what
is now being done at Hellerau.

M. E. SADLER.

[Illustration: The College.]

RHYTHM AS A FACTOR IN EDUCATION

FROM THE FRENCH OF E. JAQUES-DALCROZE[1]

[1] First published in _Le Rhythme_ (Bale) of December, 1909.

It is barely a hundred years since music ceased to be an aristocratic
art cultivated by a few privileged individuals and became instead a
subject of instruction for almost everybody without regard to talent or
exceptional ability. Schools of Music, formerly frequented only by born
musicians, gifted from birth with unusual powers of perception for sound
and rhythm, to-day receive all who are fond of music, however little
Nature may have endowed them with the necessary capacity for musical
expression and realization. The number of solo players, both pianists
and violinists, is constantly increasing, instrumental technique is
being developed to an extraordinary degree, but everywhere, too, the
question is being asked whether the quality of instrumental players is
equal to their quantity, and whether the acquirement of extraordinary
technique is likely to help musical progress when this technique is not
joined to musical powers, if not of the first rank, at least normal.

Of ten certificated pianists of to-day, at the most one, if indeed one,
is capable of recognizing one key from another, of improvising four bars
with character or so as to give pleasure to the listener, of giving
expression to a composition without the help of the more or less
numerous annotations with which present day composers h