Arizona republican., 1921-09-04

given and the children were taught the Tonic Sol Fla system. I owe my sight reading ability to that early training.
 g. Most unquestionablyl
 f. This question seems slightly in voIved, and however one would an- swer it, one would be both right and wrong. There is no doubt, however. in my mind that some men are born teachers and mediocre performers while others are born performers and abiect failures as teachers In line. I would say let the teacher by all means teach and the player play.
 John Philip Sousa
 1. As I understand it, curriculuns in general educational institutions, as colleges. contemplate the enlighten- ment of the student in studies bene- ficial for him in his battle for ex- istence. and are also intended to make him a cultured member of sc- ciety As music is a strong factor both in culture and in commerce it is wise to let the youth of thiNeen to twenty-one cultivate a knowledge of it. It is best to begin the study early in life.
 2. It should be part of the school work. It is of more value latei on than many of the other studies pur- sued.
 3. A general education is of great value to a musician. It gives him an opportunity to discuss something besides the greatness of himself and his money value.
 4 Teachers are born, players are made Teachers should be technical 1 players, conversant with the possi- bilities of the instrument they teach. not necessarily geniuses, but able by word and action to demonstrate the possibilities of composition.
 Leopold Auer
 | The teacher of the famous violin | ists Heifetz, Elman, Zimbalist, etc, answers the fourth question as fol- | lows: "In some of the musical in- stitutions in Europe there are spe- cial classes for those who do not care to become public performers but pre- fer to devote themselves to peda- gogic activities. In Petrograd there was just such department for pianists The gospel of the highest and noblest principles of musical art, as spread by teachers. is of incal- culable benefit to the children of the nation. Although it is not essential for a teacher to be virtuoso Gin l order to develop a pupils ability to the fullest degree), yet he must have sufficient technic. ample knowledg, of all styles, and complete familiar ity with the concert repertory, to be able to demonstrate upon his instru- ment. He must illustrate his words by acts. Oral or written explana- tions only would barely carry a pupil half way towards his goal"
 HONEST CRITICISMS l The artist that performs in public is entitled to honest criticism. Ii the write-up is too glowing it hurts the town. If the article is biased against the performer it also hurts the town. The reasons for this are very clear-for during the course of a season there are just so many musicales, and an improper treat ment such as over and under praise will effect the performers and their co-workers so that poor work is en- couraged and good work discour- aged. Many things are to be con- sidered. however. For instance. g performer should be criticised on a be. If a musician sets himself up as ''big leaguer" the criticism should compare him to the big leaguers 1T all musical points. If the performe is merely a good amateur appearing in connection with a home talent show without pretense of being 2 professional. the criticism should bt generous in commendation in keep