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These results have been attained in England by Dolmetch^
\vho, wishing to bring back into use the exquisite musical instru-
ments of the past, now fallen into disuse owing to the predominance
of the pianoforte, has had the brilliant idea of constructing simple
instruments for children. The faith which Dolmetch has in the
divine power of music, and also in the mind of the child, has led
him to formulate a method which corresponds in principle with
mine. (Properly adapted material; short introductions having the
sole purpose of putting the child in touch with the material; and
then the child left at liberty to play on his instrument.)

In the magnificent English institution of Bedales, where
•classes are held on the Montessori model, one may come across
in the wood children playing the violin under a tree, or small groups
trying to put together the tunes from some singular stringed instru-
ment (between the simplified harp and the lyre). Again, we may
hear delicate harmonies issuing from windows. Many of these
children know nothing about theory or musical notes; they have
never done rhythmic exercises. Musical development is fostered
by the delightful performances into which the old, impassioned
master breaks out wherever he may happen to be—in rooms, in the
woods or in the fields. And the children sit all round about him,
. stretched out on the grass, listening with rapt attention. In addi-
tion to that, the training is represented by the opportunity which
the children have of taking an instrument when the inspiration seizes
them and trying to find some harmony which is rooted in their


It is also possible to make a start with the writing of musical
notes in the Children's House.

It is based upon sense exercises consisting of the recognition
of the musical sounds of the material of the bells, which, in the
first exercises are paired and afterwards are placed in graduated