SUGGESTIONS FOR A REVIEW OF LESSONS XVII TO XXIV. The teacher or a pupil should study the subject of the Renaissance in a history of literature and also of art, and then present to the class an abstract of the study, to show the spirit of the movement and its influence on art, especially music. Use the paragraph heads in each chapter with the important sentences in the paragraphs to make an outline of each lesson. This is a great help in fixing the lessons in the mind in preparing for examination. Sum up Monteverde and his work, his relations to predecessors and successors. Why did the centre shift from Florence to Venice? Give a sketch of Scarlatti, his life and contributions to music. If time will permit, some pupil should prepare a short account of such composers as Pergolesi, Porpora, Piccini and Paisiello. Give a summary of the development of the art of Singing. A pupil should consult Grove’s “Dictionary” and make a paper on the great singers of the olden times, their personality; also interesting anecdotes. Compare the Italian Opera with the form developed by Lully and Rameau. In what respects did the English Opera differ from the Italian and French form? State the characteristics of the German Opera. Handel’s work in Opera, especially in England, will make an interesting study for a short paper to be read before the class by some member of it. Gluck’s career is full of interest and incident and his growth is clearly a matter of experience. A pupil can, to advantage, study his life in some biography or in Grove’s Dictionary and present an abstract to the class. In what respects did Mozart’s and Beethoven’s operas show differences from the conventional Italian form? A study of Rossini’s life and works is full of interest, on account of his strong personality and striking characteristics. What is “Passion Music”? Why is it specially suited to the German Protestant Church? Compare Handel’s, Haydn’s, Spohr’s and Mendelssohn’s work in Oratorio. Excellent results will be obtained by having pupils prepare charts which are filled up from lesson to lesson. Take a large sheet of paper, divide it into columns, each column into quarter sections, each column representing a century, each section, twenty-five years. Add dates of birth and death of the great musicians, marking each name I, F, G, to show nationality (Italian, French, German, etc.). Another chart should show the various national schools, France, Germany, Italy, etc., by centuries and quarter centuries; another the development of such phases as opera, oratorio, singing, sonata, etc.