This, then, is our great fallacy. It is impossible to expect children to be musical if they begin with symbols of any kind. Furthermore, in the teaching of songs without notation, the whole stress can be laid on fundamental things. What are these? First, a sense of rhythm. In the development of music rhythm came before melody, as melody came before harmony. Rhythmic freedom and accuracy are essential, not only to a child’s musical education, but to his physical well-being. Now there is one thing certain,--namely, that freedom and accuracy in rhythm can be brought about only by actual bodily movement. (It is unnecessary to dwell on the fundamental difference between actual rhythmic movement and any symbol of it, such as a half or quarter note.) And the beginning of the musical training of children should consist in marching, or clapping hands to music played by the teacher. Following this the _actual notes_ of simple folk-song may be expressed in bodily motion--as in running or dancing--the chief point being to engage the whole body. The beginnings of _Eurhythmics_ as evolved by Dalcroze serve this purpose excellently, the meter of the song (4/4 or 3/4) being expressed with the arms, while, at the same time, the rhythms (or actual notes) are expressed by the movement of the feet with the body in motion. It must always be kept in mind, however, that this training is for the mind and the æsthetic sense, and that the bodily motions are for the purpose of giving children an exact sense of rhythm. Too great stress cannot be laid on the necessity of always using good music. Furthermore, I wish to avoid the pitfalls that are spread at every hand in the form of schools for _self-expression_ in which children and adults are taught so-called “æsthetic” movements to music. Æsthetic dancing is one thing; a musical education is another. The cry for self-expression is characteristic of out attitude toward education. A child or an adult is asked to listen to a piece of music and then to express in motion or pose what _it feels_. Undisciplined by experience, incapable--as we all are--of fathoming the mystery of great music, uneducated in those immutable laws that underlie all æsthetics, what can such a person express--save that idiosyncrasy which he at that moment is? So, ultimately, one expresses a Beethoven sonata or symphony by poses and movements--in a Greek dress, against a curtained background and under a calcium light! This delicate, transitory, elusive, and impenetrable thing we call music is something more than motion; yes, more even than motion, melody, and harmony together, for they are but its body; its spirit can neither be fathomed nor expressed save in terms of itself.