The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1903-02-08

In this series Of articles about music. Annie
". Patterson, an Engiishwoman, approaches her
subject from a British viewpoint. Her sugges-
lions and opinions are, however. in most par
ticuiars applicable 10 conditions in the United
States. She reviews the work OF a teacher this
week.
WRITTEN FOR II SUNDAY REPUBLIC.
OF all branches of the musical profession
none is SO generally or widely followed as
that of the teacher of music.
From the young lady just left school.
who teaches piano at 81 or less a quarter
a fee which scarcely keeps her in shoe
leather and sioves-to the much patronizad,
fashionable Professor" who charges s. a
lesson for telling the aspiring prima donna
>that she has hitherto BEEN placing" hsr
voice incorrectly. there is every specimen,
genus and variety of the Instructive ma
chine known as the Music Teacher.
Even the prospective artist. before he or
she has quilted .theS student career, takes
beginners or Junior pupils at schools in
order to exc out individual educa tional ex-
penses and gain experience and sounder
personal knowledge.
For, in teaching, the preceptor also
learns; in clearing away initial difficulties
for young minds one must first be sure
OF the foundation oneself: while instr,ieting
others one insensibly imbibes the great les
sons of patience, perseverance and self
control.
ihNo btdNiiAi6 - ne SIedltSI OF all QlStl-
pllne, IL the teacher be but conscientious
and faithful in the discharge of duty.
II teaching is the first drill of the embryo
musician. it is often also the last re-
source for a living of the decayed or re-
tired singer or eXecutant.
1t is. moreover, alas, frequently the only
available means of susteuance of many
who would be more congenially occupied ns
e, creative or executive artists-but more of
\ this later.
: There are teachers and teachers.
The most brilliantly gifted are not always
those best fitted to impart their knowledge
and ability to others; indeed. strange as
the statement may appear, those who know
most are those least conscious of their own
attachments, and are hence the more diff
fdent to assume authority of any Kind.
Thus IS humility often the hall mark of
true genius; but it is the humility Of I'M
flinching egotism. Genius knows it's own
limitations and seldom oversteps them.
There is i touch of pride as well as re-
serve in being able to know how far one
may go> without compromising ones own
dignity.
1t is the intimate analysis of self that
makes genius at once exclusive and uni
veysai; but such folk cannot share their
sentiments with others. or else they will
certainly be misunderstood.
To some they will appear ultra-modest:
10 others assertive and oyerbearing. Hence
genius prefers its shell, and courts ac-
quaintance with the world through its
works rather than through its personality.
Only now and then-perhaps once in a
lfetime-a stronger or kindred influence
will upraise the veil.
Otherwise genius walks alone his chosen
path. even though it be one of thcrns.
Hence the creative artist seldom shines as
an instructor.
The ideal teacher. ON the contrary. must
unburden himself to his pupils.
He should do more. He needs to identify
himself with the entities with whom he
comes in contact, enter into their thoughts,
aspirations and difficulties, and. in short.
go over the ground hand in hand with the
inexperienced.
In music the complexities of notation
need much careful calculation in order TO
make them Ineligible TO a budding mind;
n good teacher will have numerous little
plans TO explain and impress upon the in
fantile intelligence the why and the where
fore of time values and key signatures.
In harmony and counterpoint rule, after
yule is learned p2t to be broken or CLOSED