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Pupils who have long passed the stage of division and fractions do not seem able to determine the time-values of the various notes and groups of notes used in music; they do not know what must be done with triplets, dotted notes, and so on. So you see 'just technic' includes a multitude of things; it is a very wide subject.

For we were now told that the Greek and Roman habits of daily speech in prose had something to do with their instinctive choice of verse-rhythms: that at the very time when the Greek heroic hexameters were being composed, there was a natural dactylic roll in spoken prose; that Roman daily speech had a stronger stress than Greek, so that Horace, in imitating Greek lyric measures, had stubborn natural word-accents to reconcile with his quantitative measures; that the Roman poets, who had originally allowed normal word-accent and verse-pulse to coincide for the most part, came gradually to enjoy a certain clash between them, keeping all the while the quantitative principle dominant; so that when Virgil and Horace read their verses aloud, and word-accent and verse-pulse fell upon different syllables, the verse-pulse yielded slightly to the word-accent, thus adding something of the charm of conversational prose to the normal time-values of the rhythm.

There seems little point in teaching a child such time-values as when it can only read at sight in the key of C major! In taking an exercise in sight-singing for the first time with a class at an elementary stage the following practice has been found beneficial: 1. The children sing the tune straight through at sight, without stopping, the teacher beating time.