Excerpt from Rhythm, Music and Education
Twenty-five years ago I made my debut in pedagogy, as Professor of Harmony at the Conservatoire of Geneva. After the first few lessons, I noticed that the ears of my pupils were not able to appreciate the chords which they had to write, and I concluded that the flaw in the conventional method of training is that pupils are not given experience of chords at the beginning of their studies - when brain and body are developing along parallel lines, the one constantly communicating its impressions and sensations to the other - but that this experience is withheld until the time arrives to express the results in writing. Accordingly I decided to precede my lessons in written harmony by special exercises of a physiological nature aimed at developing the hearing faculties, and I was not long in discovering that, while with older students acoustic sensations were hindered by futile intellectual preconceptions, children appreciated them quite spontaneously, proceeding in due course quite naturally to their analysis.
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