The movement entitled "O Sanctissima," played by Miss Maccheroni one day by chance among the rhythmic exercises, is regarded by us as an introduction to musical audition. It will be recalled that the children had been accustomed to alter their style of marching on the floor-line according to changes in the music. It had never, however, occurred to them to leave the line. When this piece was played they all crowded around the piano, motionless, thoughtful, absorbed; while two or three little ones fell to their knees and assumed various poses. This experience suggested to us the idea of "musical auditions," if you wish "concerts for children."

Children, little by little to be sure, but no less admirably, enter into the spirit of music. After the numerous rhythmic exercises, as soon, that is, as they have mastered the problem of measure, almost any sonata is within their reach. They can handle not isolated movements merely, but whole pieces of music. The same is true of the auditions. At first, of course, it is better to select simple phrases; but gradually the children come to enjoy "the best music," joyfully recognizing the feeling which it expresses and which inspired it. Our pupils used to exclaim, for instance: "This piece is for weeping," "This is for prayer," "Now we must laugh," "Now we must shout," etc.

We cannot, however, insist too strongly on the need for the greatest possible care in the execution of the selections used. A child audience is a very special one. It demands something more than is expected by the average "intelligent audience." It is one in which musical intelligence must be developed. Our object must be the creation not merely of higher and higher grades of understanding but also of higher and higher grades of feeling. In this sense, we can never do too much for the children. It is a task not beneath the dignity of the greatest composers, the most accomplished technicians. Indeed, any one of such might well esteem it a privilege some day to hear it said of his work that it aroused the first love for music in the hearts of one of these little ones. For thus music would have been made a companion, a consoler, a guardian angel of man! It is of course not the lot of all of us to attain the exalted position of greatness whether as artists or technicians. We must content ourselves with assuming an obligation: with giving all the soul and all the skill we possess. We must conceive of ourselves as transmitters of the largess of music to our children. We must deeply feel our calling as bestowers of a divine gift.

The following titles were all used successfully by us in our experiments. They are supplements to the "O Sanctissima" and a "Pater Noster."

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