Somervell (2 vols., published by Augener and Weekes respectively).

Taylor (1 vol., published by Bosworth).

As a child will need more than one such book in the course of her study,
and as she cannot play the same test twice, a plan has been made in some
schools for the music to be sold second-hand from one pupil to another,
through the medium of a mistress, in the same way in which ordinary
school books are sometimes passed on. This reduces the expense of
constantly having to buy new books for sight reading. Another plan is to
establish a lending library, each child to pay 2_d._ or 3_d._ a term.

In the teaching of 'pieces' music mistresses should bear in mind that
children must, from time to time, revise those which they have finished.
Nothing is more irritating to a parent than to be told by a child that
it has 'nothing to play' to a visitor. The mistress who is anxious to
get a pupil on as quickly as possible often overlooks this point, and an
entirely wrong impression is given of the child's progress to the
parent.

We now come to the vexed question of the interpretation of music by
children. An interesting point can be noted about the practice of the
early classical composers. They were accustomed to give the minimum
amount of indication as to tempo and general detail for the performance
of their works.

And to what conclusion does this lead us? Surely this--that these giants
in music recognized the necessity for every performer of their works to
express _themselves_ through the music, subject to the broad conditions