Bauhaus-Universität Weimar

PRINCIPLES OF GUIDANCE 
IN MUSIC* 
Modern organized efforts in the direction of occupational 
guidance of the young take three forms—education for 
general culture, vocational training, and avocational training. 
The vocational guidance is of leading interest in the public mind— 
the problem of placing each youth in the occupation for which he 
is best fitted. But avocational guidance is coming to be recognized; 
first, because we are confronted seriously for the first time in the 
modern world with the problem of educating for leisure—how to 
spend spare time; and second, because in the arts we find the most 
marked exhibitions of talent or lack of talent, and the pursuit 
of the arts is and should be far more of an avocational nature than 
vocational. This is particularly true of music. The real emphasis 
needs to be laid at the point of educational guidance, whether it 
be for vocation or avocation. If the educational guidance is well 
done, the other two will take care of themselves. 
The aim of this chapter is to present in rapid review a general 
picture of the present status of educational guidance in music, 
setting forth underlying principles, safeguards, and objectives. It 
will be restricted to a consideration of the discovery, the evaluation, 
and the guidance of musical talent and will not touch upon the 
problem of means of education or outlets for the trained. 
* This chapter is essentially reprinted with permission, in part from School and Societym“ 
and in part from the S4iA Yearbook of the National Society for Experimental Education.'2" 
It dovetails with the next three chapters, which give more specific accounts of psychological 
guidance in music. 
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