of adolescent boys and girls are not so likely to be strained? A discussion of these matters properly belongs in a treatise on public school music, and we can only state our belief here that, in general, the musical development of the children will be more directly fostered by practice upon choral rather than upon operatic works; and that extreme care must be exercised by the high school chorus director in handling immature voices lest they be strained in the enthusiasm of singing music written for mature adult voices. Whether this implies the entire elimination of the Messiah and other similar works, is left to the discretion of each individual supervisor, it being our task merely to point out the responsibility of the high school chorus director for recognizing the difference between mature voices and immature ones.
THE PUBLIC PERFORMANCEIn giving public performances with a large group of small children, the director will need to learn that it is necessary to teach in advance the precise shading to be employed at the performance. In working with an adult chorus, the conductor expects every singer to watch him closely throughout the selection, and many slight changes of tempo and dynamics are made at the performance that have perhaps never been thought of during the rehearsal. But children are usually not able to keep their minds on the task in hand to this extent, and if there is to be a ritardando or a crescendo at a certain point, the only safe thing is to teach this change in tempo or dynamics when first taking up the song, so that the expressional element may become a habit in the same way as the tones and rhythms. This is particularly necessary in teaching the same songs to several different groups separately in preparation for a public performance in which various groups that have not practised together are to sing the same numbers.
