Speech and Voice

THE value of this book can hardly be overestimated. It is not too much to say that it is the most important book yet published for the enlightenment and guidance of teachers and supervisors of public school music. For all of these have studied psychology —and tucked it away in one corner of their minds—and all have studied music. Ordinarily, after that, the prospects are that "never the twain shall meet"; but now comes this book, and makes it possible and probable, not only that the twain shall meet, but that they shall be blended into one indivisible organism. The work is very thoroughly and discerningly done. It is not the somewhat inorganic work of a psychologist plus a musician, but the much more desirable work of a psychologist-musician working with a musician-psychologist. Each of the authors knew the other's field to so great an extent that disarticulation was impossible. Research studies in musical psychology are adduced, but in the end the implicit musical knowledge, discernment and taste of the musicianteacher are accepted as the court of last appeal. The work is fully documented, and a copious bibliography points the way to further amplification of study on the part of the progressive teacher. All essentials and, indeed, the bulk of all that every music teacher should know, within the territory covered, are, however, present in this one volume. It is a book of modern thought, modern practice, authoritative counsel, and happy portent. We owe Dr. Mursell and Miss Glenn a debt of gratitude for i t .—WILL EARHART.