For one thing, the criticism of our
contemporaries often carries more weight than that of our elders; and
for another, the practice arouses the critical faculty, and teaches the
children to listen keenly, for they have not the written tune in front
of them.
After a little practice quite good criticisms will be given by children.
They will notice such points as a weak scheme of keys--undue repetition
of the chief melody--a clumsy modulation--a trite ending--an
over-laboured sequence--a tendency to borrow ideas from others, and so
on.
This training will be of the greatest possible value to them later on in
the concert-room. As a writer in _The Times_ once put it:
'The vague impressions which are all that many people carry away from
the concert-room would be replaced by definite experiences.
* * * * *
'Mental analysis is not, of course, the main object in listening to
music, but it is a most powerful aid to full appreciation. It is the
failure to perceive any definite relation between the parts and the
whole that baffles so many people, and sends them away from the
concert-room remarking that they cannot understand "classical" music.
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