In all communal work the results fall roughly under two heads:

1. The getting of new ideas, and of new ways of presenting old ideas.

2. The development of character, due to the mixing with fellow students
and with those who are directing the work.

So far as the actual work is concerned, stress has been laid on the
following:

1. The necessity of considering music as a language.

2. Various methods for teaching in accordance with this idea.

3. The principle of the inclusion of the work in the regular curriculum
of schools, with class treatment.

In the short space of one year, which is all that can be generally
spared by the student, it is impossible for her to realize the full
bearing of all that has been done. It is only when we see such work in
perspective, after the lapse of a little time, when it has been possible
to work out at leisure some of the practical points involved, that we
can perceive all the ground covered.

Many students have experienced considerable difficulty at first in doing
themselves what they have seen children do, who have been trained along
these lines, i.e. to write down two-, three-, or four-part exercises in
dictation, to transpose at sight, to extemporize without hesitation at
the piano, &c. The feeling of working against time, of examinations to
be passed, of discouragement at apparently slow progress, has possibly