ote: =MENTAL HEARING. CONCENTRATION=]

Physical movements repeatedly performed create corresponding images in
the brain; the stronger the feeling for the movement, i.e., the more the
pupil concentrates while making that movement, the clearer will be the
corresponding mental image, and the more fully will the sense for metre
and rhythm be developed.

We might say that these movement images store up the innervations which
bring about the actual movement. They are for the body and its movements
what formulae are for the mathematician.

Developed out of many movements they become a complete symbol for the
rhythm expressed by the series of movements in question. Thus the pupil
who knows how to march in time to a given rhythm has only to close his
eyes and recall a clear image of the corresponding movements to
experience the rhythm as clearly as if he were expressing it by
marching. He simply continues to perform the movements mentally. If,
however, his movements when actually realizing the rhythm are weak or
confused, the corresponding mental images will be vague or incorrect,
whilst movements which are dynamically clear guarantee the accuracy of
the corresponding mental images and nerve-impulses.

In practice the exercise consists in first mastering a rhythm played,
marching and beating time in the usual manner, then at _hopp_
discontinuing all movement, either for a number of bars previously
agreed upon or until the signal to resume is given by a second _hopp_.
In this exercise the teacher ceases to play at the first _hopp_.

[Sidenote: =ANALYSIS AND DIVISION OF TIME VALUES=]

The exercises of this group are designed to teach how to subdivide units
of time into parts of varying number. At _hopp_ the crotchet must be
divided into quavers, triplets, semiquavers, etc., as may have been
previously arranged, or instead of _hopp_ the teacher may call _three_,
_four_, etc., to indicate the subdivision which is to be expressed by
the corresponding number of steps. Apart from their direct object, the
exercises of this group are of value for the training which they give in
poise; they might be classed equally well with the group under
_Development of Mental Response_.

Here, too, belong exercises in the realization of syncopation in which,
as the note is represented by the usual step, it comes off the beat, the
latter being indicated by a knee-bend which, in quick time, becomes a
mere suggestion of movement or is omitted,