TJ4 E ETUD E 7 3 EDUCATION AND ITS DEMANDS UPON THE MODERN TEACHER, BY E. A. SMITH. I. FOR many of the thoughts in the following article I am indebted to David P. Page, A.M., whose work upon " Teaching " recently came into my hands. While reading it, the idea occurred to me of taking notes, with the view of presenting to the readers of THE ETUDE an application of some of the theories advanced, which have as much value to the teacher of music as to the teacher in the public schools. In writing these notes I have applied the rule of addi-tion and subtraction as pleased my fancy ; and with no other apology for so much plagiarism than to be of some assistance to my fellow-teachers, I herewith present the summary of that work. QUALIFICATIONS NECESSARY FOR A SUCCESSFUL TEACHER. It is at once assumed that the teacher must have some natural ability, else there would be nothing substantial upon which to build. The next supposition is that this ability has been developed by study in one or in many directions. Then there awaits him the great field of experience, in which he may delve to his heart's content. In the work of preparation, too great pains can not have been taken. " Knowledge is power "—knowledge is the lever that moves the world of thought. Believe in yourself, for confidence grows from out such a belief, and confidence is one of the qualifications of success. Knowledge prepares for doing, and doing is but the out-growth of knowing. The excuse of "ignorance" will not suffice in these days, for it will not correct an error which, from the first, ought never to have been made. Culture and scholarship should also be allies. They form the very basis of fitness for teaching. For them there are no substitutes, and any scheme of study that is pursued at their expense and neglect is faulty. Cul-ture is above mere book learning, and scholarship opens a wide range of intellectual vision. Together they are of infinitely greater worth than any set of rules. The latter can be easily supplied ; the former must, at any cost, be acquired. The teacher, then, should know more than the one study taught. He can not afford to be a man of one idea, for breadth and freedom can not be imparted when narrowness of horizon has so hemmed in his little world that a mole-hill of thought is to him Parnassus. OBJECT AN D COMPENSATION OF THE TEACHER. The true object of the teacher should be not to seek pecuniary emolument alone, but a desire to be useful in the highest degree ; to elevate and to imbue others with new ideas and aspirations for better things ; to possess lofty ideals, and never to lower the accepted standard. The work of teaching may have been taken up from necessity, in which case gain is apt to be "a primary consideration. Guard well against the predominance of such motives. Let them occupy a space, but not the seat of honor. So much has been said by others regarding a teacher's love for his work that the business side has been quite overlooked. A teacher should, at least, have qualified himself so that he can keep his accounts and can con-duct his affairs in a businesslike manner. For there is no calling, however humble or esthetic, but that it in-volves the transaction of business. The profound ignor-ance of many teachers upon this truly important phase is astonishing. It is no longer a sufficient recommenda-tion for a teacher to have been a failure in everything else, and, as a last resort, to fall back upon music solely as a means of livelihood. QUALITY OF THE TEACHER'S WORK . It is of little consequence if the child be only able to name the notes, or to read the letters, but powers of ob-servation, comparison, and perception must be culti-vated, so that notes or words shall be the vehicle of ideas. Symbols have no thought or expression in them-selves—they only represent these ; and yet how many teachers direct the pupil's attention to the symbol itself as the main thing ? Notes or words merely are but the coins of dull mental machines. If principles were taught and pupils more fully un-derstood the nature and use of technical terms and signs, in after years, fewer people would be forced to confess that 14 their music represented to them a cipher," because they did not understand it, and could get no intelligent meaning from it. It is not the looks of the chord, or phrase, or word, so much as the mean-ing and relationship contained therein. Rules and principles are never to be confounded. One appeals to the mental forces ; the other to the mechanical. Art is free as the winds of heaven. It is never bound by ironclad rules. Art creates rules and boundaries, but these never circumscribe art, which is boundless, exhausting every possible resource that skill and indi-viduality can lend it. Be not satisfied with cropping a little herbage about the border, but get at the idea itself—master it, and 'twill serve you well. Failing in that, you have gained but little, and lost in it a lifelong friend. In the public schools it has been ascertained by com-petent authorities that eleven-twelfths of all the chil-dren in the reading classes do not understand the mean-ing of the words they read, nor master the sense of the lesson. If this condition holds true in reading, how much greater must be the tendency when associated with musical sounds that are brought to us perhaps by only occasional hearing. Thought work in music is no less essential than thought work in language. And the classic which re-quires most thought usually receives the least. No wonder, then, that upon such a diet the intellect some-times thrives so poorly. It is of as much importance how we study as what we study. In the school-room the majority of scholars study for the sake of preparing for their recitations, and they seem to have no idea of any object beyond that recitation. The same condition is manifest in the study of music, and no teacher does his best work or whole duty so long as he allows such a condition to exist and continue. INFLUENCE AN D EXAMPL E OF THE TEACHER. As the teacher has much to do with the molding of character, his own example should be a living law, in order that a moral elevation of character may inspire all his work, for how can a man interpret the deeply relig-ious and spiritual element aright, and exemplify it in his teaching, unless he first perceive it for himself. How great the silent power and influence of one's work ! In-finity only can measure it, for 'tis eternal. Better far that a man devoid of principle seek some other voca-tion than that of teacher. And yet so many enter the ranks of this profession without a thought of any of the great questions which must emanate and grow from out his teaching and influence ! A teacher's work does not begin and end with the lesson itself ; it begins and ends in example. I refer now especially to the effect upon character-building, which is the basis of a man's work ; for can the hand execute what the character does not inspire ? The standard of teaching can never be too high, and it is constantly advancing. A teacher who has ceased to be an active student has lost the secret of his great power. He who does not progress is soon left behind. But, making the best use of the present, may not the next generation look upon their predecessors as being worthy and efficient representatives of their profession ? There are many native endowments indispensable to the successful teacher ; such as an aptness akin to in-stinct, anticipating the need of the pupil, and supply-ing that need even before the pupil has become aware of it. If one possesses a keenness in the reading of human nature, that error may sooner be reached and corrected. MANNE R OF TEACHER. A teacher's manner has much to do with his success. He can neither afford to be too trivial nor too stern. There is a dignity above any law. Children are usually keen observers, and a superficial manner is so flimsy a guise that it is quickly seen through. Patience, kindness, and encouragement are watchwords that pave the way to almost any child's heart ; and if a teacher does not possess them for himself, how can he hope to impait them to others ? There must also be in the manner of the teacher a certain confidence in his own ability, in order to gain the confidence of others ; but this confidence must never degenerate into self-conceit, which is unbearable. Self-respect also grows out of confidence in one's self, with-out which the teacher's influence is half lost from the very first. Decision and firmness are also qualities of inestimable value. If they are lacking in a person's nature, they should be cultivated, for without them a teacher is sub-jected to the caprice of every pupil, and, with no definite ideas of his own nor firmness necessary to carry them out, he is adrift upon the great sea of thought, blown about by every changing wind, so that purpose is frus-trated and best results are never obtained. The moral principle should be deeply engrafted in the mind of every teacher. He should be conscientious to a high degree, and do right, not alone because others may think it right, but because it is right. Pupils respect such principle and honor it, and never forget it. Un-consciously the spirit of it is imparted to the manner of the teacher, and its silent influence is far more potent than mere words. (This article will be concluded in 11 The Etude " for April) THE PEOPLE TO CULTIVATE. BY WILLIA M BENBOW. EVERY teacher has been interviewed more or less fre-quently as to some "pointers " in regard to getting pupils. In a general way a good bit has been said on this subject from what may be termed its extensive side. It is very well to say that you must make a circle of friends, that you must give recitals and play at church sociables, etc., but it takes some experience to find out just what kind of people are most worth cultivating. One who has gone through the mill can not have failed to observe that there are three people in every community who are particularly valuable allies—viz., the school-teacher, the clergyman, and the singer. There is a double reason for this. They will help you both to " make business " and, what is just as important, they will help to broaden your horizon and put and keep you in touch with the intelligent judgment of the community in regard to musical matters. This article will consider the first of the three people mentioned, the school teacher, who can teach one a great deal about the practical application of the best educational theories. Much that one reads in the current musical journals about pedagogics in connection with music is specula-tive moonshine. Now, the books the school-teacher studies and upon which she is examined are works dealing with the practical, utilitarian side of teaching. She is like the marine who perhaps does not know how to adjust the range-finder by logarithms, but does know how to aim and to fire the gun according to direc-tions from his superior officer. The proportion of people in the world who can inter-est the child's mind is exceedingly small, and we are just beginning to find it out. Now, the average school-teacher has had normal training in this very subject, and has had the best experience and advantages in using and in devising expedients-to catch and to hold the attention and interest of the pupil. The drier the subject, the more sauce you must add, and the smaller the dose. In fact, the pupil will take to it all the better if you can dilute it enough to let him sip it through a straw. Again, the school-teacher, because of her habits of study, makes a faithful and intelligent pupil to have in one's class. And because of her prestige, she can often influence those under her instruction to come in your direction when they want to take music lessons. What is more, school-teachers are in the habit of com-paring notes among themselves about matters of this kind, and if you are successful with your first school-teacher as a pupil it will not be long before others come ; and thereby you spread the circle of your prestige —like compound interest,
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