JRME 1983, VOLUME 31, NUMBER 3, PAGES 215-226 215

The purpose of this article was to announce the existenceof 35 unpublishedbookletson

Montessorianmusic educationthat were conceivedbyMaria Montessoriand authoredby
her music consultant,Anna Maria Maccheroni, at the beginning of this century.These
bookletsconsiderablyextend the briefportions devotedto music in Montessori'spublica-
tions. The joint effort of these two women resulted in a comprehensiveprogram that is
distinctiveby reason of unique aspects that include (1) collaboration,(2) structure,(3)
preparedenvironments,(4) auto-education,(5) controlof error,(6) isolationof the aural
sense, and (7) scope. Representative examples of distinctivefeatures and a cursory
descriptionof the bookletsand their contentsare presented.

Jpanne S. Rubin, EmeritusProfessor of Music,

Kent State UniversityRegional Campuses

Montessorian Music Method:

Unpublished Works
In the first decade of this century, work was begun on a new approach
to music education. The thrust came from Maria Montessori's innovative
ideas on general education that triggered her collaboration with Anna
Maria Maccheroni, her music consultant, in the specialized field of music
education.
Their collaboration is established in Montessori's published works
(Montessori, 1964a, 1965b) that frequently cite Maccheroni as her music
consultant and by such representative statements as the following, taken
from the works of both women: "Miss Maccheroni, who came to Rome to
work with me on experiments looking to the continuation of the [music]
methods used with primary classes, was successful in establishing a
number of tests that constituted our first steps into this important field
of education" (Montessori, 1965b, p. 319); "Signorina Maccheroni-
. . . has invented and has had manufactured a series of... bells... to
all appearances, identical, but the vibrations... produce the following
thirteen notes" (Montessori, 1964a, p. 204); "To Maria Montessori: who
initiated and supported this [musical] realization of her method and
gave me all of the time and warmest encouragement" (Maccheroni,

For reprints of this article, contact Jeanne S. Rubin, 518 Forty-fourthStreet NW,
Canton, Ohio 44709.
216 RUBIN

manuscript, Booklet 6). The "first steps" are partially contained in some
of Montessori's published works (Montessori, 1964a, 1965b); the monu-
mental "continuation" is contained in 35 or possibly more unpublished
booklets authored by Maccheroni (Maccheroni, manuscript).
Since the existence of these booklets is little known and the fractional
information available on Montessorian music education is somewhat
misleading by reason of incompleteness, the purposes of this article were
to (1) alert music educators to the existence of the booklets, (2) offer a
brief description of their general contents, and (3) cite representative
unique aspects that warrant the attention of all music educators.
In addition to Montessori's own publications, the primary source of
information for this article was the set of Italian manuscripts (Maccher-
oni, manuscripts) originally housed at Vita dell'infanzia, holder of the
Italian copyrights, an affiliate of Association Montessori Internationale,
and its preliminary English translation. Though the Italian manuscripts
are carefully guarded by one of Montessori's progeny who heads the
international association, a singularly insular one, permission was grant-
ed to study them in detail during the short time that they were housed at
World Library Publications in Cincinnati, Ohio, holder of copyrights to
the preliminary English translation. Since that time, both the Italian
manuscripts and the English manuscripts have been transferred to
Montessori Development Foundation in Cleveland, Ohio, also affiliated
with the International organization.
The complete set of booklets has never been published, but there have
been a few single publications containing fragments and condensed
versions. One such booklet is an early, undated English publication
entitled TheMontessoriMethod:Music and the Child(Maccheroni, no date),
consisting of 48 pages and 7 brief sections entitled (1) "Music and the
Child," (2) "The Notes of the Scale," (3) "Music and Movement," (4)
"Value of Notes," (5) "Scales," (6) "Melody," and (7) "Reading." This
book, "compiled at the request of Dr. Montessori," boasts of "seven
charts" and the word "copyright" on the cover, but neither the holder of
the copyright nor the name of the publisher appears on that page or
those following. On the last page, the address of 23, Kensington Square,
London, W. B. appears below the last line of text.
Two single booklets in Italian are also known to have been published
in Rome: Costruiscola scala (Booklet 6) and Orecchio,voce, occhio,mano.
The former is dated 1956; the latter's date is not given.
Still another was published by World Library Publications entitled
Developingthe Musical Senses (Maccheroni, 1966). It bears the date 1966
and, in a footnote, refers to a publication of II primo libro del bambino
(Booklet 3) in Rome, 1950 (Macheroni, 1950).
It is possible that other publications may exist. The previous list is only
intended to be an indication of their general scarcity. Further research
(including 150 questionnaires distributed at the 20th Anniversary Semi-
nar of the American Montessori Society held in New York City [1980]
and the 14th World Congress of the International Society of Music
Educators held in Warsaw, Poland [1980]) failed to reveal more publica-
tions.
 JRME 217

GENERAL DESCRIPTIONS

No title was assigned to the complete set but the individual booklets
bore numbers and titles. For convenience in citing references and as an
indication of the general contents of the set, a listing of the titles of these
booklets is provided:
1. "Let Us Walk with the Melody"
2. "Melodies" (for Booklet 1)
3. "The First Book of the Child"
4. "Long Notes in Short Melodies"
5. "Rhythmic Designs"
6. "Construction of the Scales"
7. "Scales"
8. "Progression of the Scales"
9. "Families of the Scales"
10. "Degrees of the Scales"
11. "Degrees of the Melody"
12. "Intervals"
13. "Chords"
14. "Transpositions"
15. "Modulations"
16. "Values of the Notes"
17. "The Measure"
18. "Punctuation"
19. "Analysis"
20. "Graphics of Sound"
21. "Repetitions"
22. "Imitiation"
23. "A Story in Four Chapters"
24. "Eight Seconds of Mozart"
25. "What We Sing"
26. "A Few Notes and Their Value"
27. "Our Answer"
28. "Height of the Sound"
29. "How Music Is Written"
30. "Parts and Voices"
31. "Monophony, Polyphony, Homophony"
32. "Library, Concerts"
33. "The Sound"
34. "Ratios"
35. "Collection of Classified Readings"
No dates are affixed to the manuscripts and we can only assume that
they were written over a number of years, beginning before or around
1912 when the first Montessorian treatise on music appeared in The
MontessoriMethod (Montessori, 1964a), or before 1917 when much of the
material contained in Maccheroni's first booklet appeared in the first
publication of Montessori's "Advanced Method," The MontessoriElemen-
taryMaterial (Montessori, 1965b).
218 RUBIN

The physical properties of these fragile, yellowed booklets can be

described as ranging from 7 to 62 pages. They are approximately 21 cm
long and 28 cm wide, approximately the dimensions of our standard 8 V2
x 11 inch sheet, if placed horizontally. This booklet size, designed with
consideration for children's anatomical proportions when turning pages
held on the lap, was used consistently even though not all booklets were
intended for use by the child.
The text adopts a conversational tone whether addressed to the
student or the teacher. Sections addressed to the teacher include
recommendations for proper presentation of activities, materials, repre-
sentative student reactions, appropriate age levels, and average length of
time for students' mastery. Sections addressed to students are intended
to pique curiosity and prod self-motivation, of prime importance in all
Montessorian education. Simple suggestions such as "If you like, you
may [do this or that]" or "If you want to, you could [try one or the
other]" are found frequently.
The assumption that higher booklet numbers correspond with higher
age levels or greater complexities is somewhat misleading since Booklet
32, "Library, Concerts" (essentially exercises in categorization and
passive listening) is designated for children 4 to 5 years old. Cyclical
treatment of the same information approached differently during
successive developmental stages (motor, sensory, verbal-intellectual) and
Montessorian respect for the natural proclivities of the individual are
largely responsible for what might be considered some questionable
sequences in the booklet titles.
The booklets burgeon with didactic materials: fold-out charts and
graphs, fold-up strips and slips, discs that flip, and slips that slide. When
appropriate, they are contained in neat little envelopes. Each represents
a single component of various music-theory systems and is capable of
functioning as either a variable or a constant in multiple interrelation-
ships. All of them act as substitutions for unnecessarily verbalized
instruction and learning. In Montessorian education, information is not
disseminated through verbalizations by the teacher; it is discovered
through manipulation of the didactic materials by the child.

UNIQUE ASPECTS
A noteworthy feature was the use of thinly drawn, extended-beyond-
staff vertical lines that establish placement of beats. When combined with
the horizontal lines of the staff, a graphlike pattern resulted, thereby
providing visually accurate placement of duration as well as pitch. This
has educational implications when viewed from two vantages: (1) when
applied to traditional staff notation and (2) when applied to 20th century
graphic notational practices such as those used by Stockhausen (Stock-
hausen, 1956), in Heitor Villa-Lobos's "Skyline of New York" (Baker,
1956), and in J. Schillinger's system of graphic notation (Schillinger,
1946). Both vantages facilitate reading and hearing processes: with
spatially accurate placement of equidistant beats, traditional staff nota-
tion became easier to decipher; in contemporary graphic notation, even
 JRME 219

the most untrained and unsympathetic listener could easily follow the
score, anticipate future sounds (or silence), and retrospect preceding
ones. He or she could relish the sawtoothedclustersas they attackedand
decayed; he could see as well as hear pitch and durationalrelationships.
In other words, he could listen with new ears and eyes to the new music.
Another unique aspect was the choice of Gregorian chant for early
singing activities.The choice was made on the basisof its characteristical-
ly conjunctmovement, limited range, and absence of rhythmiccomplex-
ities.
The use of 21 dolls representing the seven letter names of music in
their flat, sharp, and natural versions was another unique device. As
means of identification, the dolls wore letter name tags and differently
printed clothing for sharped and flatted functions. A rug of seven
differentlycolored stripes (bordered with the firstcolor) represented the
seven different diatonic scale functions (plus repetition of the tonic) and
was spread out so that selected dolls might be positioned appropriately.
Each doll carried a flag (interchangeable)that denoted scale function by
its color, coded to correspond with the colors of the rug. A 22nd doll was
dressed in white and bore no name "becauseit has the same name as the
tonic"(Booklet B). The fixed do system was used, a systemthat would be
more effective for 19th century chromaticismand 20th century atonal-
ism than the moveable do projected for American adaption.
Children'sconcerts involving performanceof very brief excerpts from
the classicswere recommended for children 4 to 5 years old. These were
characterizedby intermissions after each selection, no talking during
performances,and acceptanceof spontaneous burstsof song "if striving
for good sound" (Booklet 32).
Other unique aspects were directlyrelated to Montessori'sphilosophi-
cal and psychologicalapproaches to general education and her scientifi-
cally based procedures and goals. These aspects, categorized here as (1)
collaboration, (2) structure, (3) the prepared environment, (4) auto-
education, (5) control of error, (6) isolation of the senses, and (7) scope,
should be viewed within that larger framework.

Collaboration
The collaboration of scientist and musician in the formulation of a
music education method was, in itself, unique. The significanceof this
method was established by the qualificationsand backgrounds of the
collaborators.
Montessori, renowned as an educator and whose training in the
science of medicine is fairly well known, was the first woman to receive
the degree of Doctor of Medicinein Italy. Somewhatless well known was
her serviceas assistantdoctor of the psychiatricclinic of the Universityof
Rome and director of the State Orthophrenic School. Further diversifi-
cation is evidenced by postdoctoral studies in both philosophy and
psychologypreceding her appointment as professor at the Universityof
Rome where she held the chair of anthropology (Standing, 1962).
As a physician,she recognized the value of consultationin specialized
220 RUBIN

areas. The consultant chosen for music was Maccheroni (no date known)
who was selected on the bases of her reputation as a skilled pianist, her
sound training and sensitivity as a musician, and a spiritual kinship in
pedagogical matters (Montessori, 1964a). Aside from this, little bio-
graphical information is readily available. We do know that in 1906,
while a teacher, Maccheroni attended lectures in pedagogical anthropol-
ogy presented by Montessori in a course for teachers given at the
University of Rome (Standing, 1962). We also know that in 1908 she was
the first directress of the Casa dei Bambini (Children's House) in Milan
(Montessori, 1964a, 1965b). Standing (1962) states that Maccheroni
wrote a book, published in 1946, entitled A True Romance:DoctorMaria
Montessorias I Knew Her (Maccheroni, 1946). It is cited as a source of
anecdotes about Montessori as a child (Standing, 1962).
These two collaborators evidently worked in such close sympathy that
frequent references in the writings of each credit the other with the
result of their joint labors, thereby creating conflicting credits. Often,
the matter of individual credits is simply bypassed by using the pronoun
"we" (Montessori, 1964a, 1965a, 1965b; Maccheroni, manuscript; no
date; 1956; no date; 1966; 1950). In the course of research, it was
discovered that a large section of text was duplicated verbatim in books
authored by both women (Montessori, 1965b, pp. 341-354; Maccheroni,
Booklet 1). There is good reason to believe that they pooled their efforts,
thoughts, and writing to such an extent that they neither knew nor cared
to whom the credit was due. Their work is so inextricably intertwined
that those who review it might do well to adopt a similar attitude of
disinterest in assigning individual credit.
There is little doubt that Montessori should be credited with the
philosophical and psychological bases of the method as well as with the
scientific methodology used during its development and evidenced in
many of the didactic materials, procedures, and goals. It is also reason-
able to assume that Maccheroni should be credited with the necessary
musical adaptations. Montessori used the vocabulary of a scientist in
referring to Maccheroni's work; Maccheroni used the rhapsodic prose of
a musician in recording it. It is possible that the 35 booklets were an
outgrowth of notebooks kept by Maccheroni on their joint work.

Structure

The Maccheroni booklets are generally structured in accordance with

Montessori's prescribed developmental sequences derived from her
work in the various sciences. Maccheroni makes no explicit mention of
these sequences but they are implicit in the broad structuring of the
booklets; Montessori (1964a, 1964b, 1965a, 1966) explicitly discussed
them in her publications but they are somewhat obscured by prolific
prose rather than exposed in outline form. Although the following
sequences are extracted from Montessori's published works, the head-
ings used in the following outline-developmental, procedural, percep-
tual, and conceptual-seemed appropriate to the author:
 JRME 221
1. Developmental sequences
Motor
Sensory
Verbal/intellectual
2. Procedural sequences
Single entity
Two related entities
Three or more related entities
3. Perceptual sequences
a. Exploration of single entity
Pairing of two similar entities
Differentiating between two dissimilar entities
Grading of three or more entities
b. Broad differentiations
Narrower differentiations
Fine differentiations
4. Conceptual sequences
Concrete
Abstract

Prepared Environment
In an effort to apply these sequences most effectively and to encour-
age self-motivated learning, the Montessori method evolved from scien-
tific observations of the natural preferences of the child. For these
observations, a suitable environment-free from undue distractions or
influences such as a traditional teacher might have provided-was
necessary. Thus, the Montessorian "prepared environment" and the
"nonintervening" teacher were created. Since Montessorian students
teach themselves by exploring their environment, rich in stimuli, there is
little need for a teacher. There is only a need for someone who discreetly
guides or directs them toward more effective interaction with that
environment. For this reason, a Montessori teacher is referred to as
"directress" or "director." This explains the conversational tone of the
booklets, mentioned earlier. It also explains other aspects of Maccher-
oni's work:
1. As a part of the environment, music activities were characteristically
unannounced. They were introduced by the sound of the music itself, or
by the sight of music materials placed in a position of prominence.
Maccheroni suggested various techniques for introducing subconscious
listening as well as activities consciously focused on music.
2. Since the child was not expected to conform to the method (the
method was designed to conform to the child), tempos were not dictated
to children in marching/walking activities. They were dictated by the
children's observed capacity for coordination.
3. Repeated admonitions were made to avoid distortion of the music
by exaggerated downbeats often intended to reveal primary accents
more clearly to the marching or walking child. Maccheroni observed that
222 RUBIN

childrentook greaterpleasurein discoveringit by themselvesand thatat

ages 3 to 5 they wbuld do so in "3 or at longest 7 weeks"(Booklet 1, p.
10). Complete mastery of all of the objectives of "walkingthe line"
(exercise in coordination and rhythmic motion) included nonverbal
recognition of pulse, primary accents, secondary accents, phrases, in-
complete cadences, complete cadences, and the expressivecharacterof
the musicalitem accompanyingthe activity.
4. Since the child was observed in his or her natural reactions to
environment, no mandatory participationin music activities was re-
quired.
Auto-Education

Self-motivation logically leads to auto-education. Occasionallythe

directress,whose primaryresponsibilitywas to observe, would answer
questions and offer guidance toward more effective and efficient ma-
nipulationof the chosen material.
Some general motivationalapproacheshave alreadybeen mentioned
and, in the light of their importancein auto-education,they now assume
a greater significance.This representativequotation of a motivational
approach was taken from the final sentence of Booklet 34, devoted to
acousticalratios: "Would you like to satisfy your curiosity by finding
which number is to 100 as 5 is to 9?"

Control of Error

Controlof error becomes a necessitywhen auto-educationis incorpo-

ratedin a method. Variouscontrolsare providedin the bookletsand are
too numerous to mention. They include materialsthat turn, separate,
join, cover, expose, insert, enclose, superimpose,andjuxtapose. Correct
manipulation demonstrates understanding of the principle involved.
Parallelexercises, previous achievements,and the materialsthemselves
provide controls.
For instance,some musicalinstrumentsare designed with duplicates,
the duplicate serving as a control. One such instrumentis the mono-
chord, originallydesigned by Pythagoras.The Montessorianversionhas
moveablesticksto be placedas frets by the child exploringvariouspoints
of arrival on the unbroken pitch continuum. A bow is provided to
produce sustained sound. The duplicate instrumenthas chromatically
spaced, fixed frets that serve as controls for pitch placement. This
instrument would have been preceded by activities with two other
instruments,the Montessoribells and tone-bars,described more fully
later.
Isolation of the Senses
In addition to duplicatesprovided for control of error, some instru-
ments also incorporate the scientific principle of isolating the entity
undergoinginvestigation,in this case the auralsense. This meansthatall
 JRME 223

instrumentsused in developing pitch discriminationshould be identical

from the standpointof the visual,tactile,and baric(pertainingto weight)
senses. It also means that separate pitches should be produced by
separate instruments so that only the pitchesof different instruments
would vary. The Montessori bells, mentioned earlier, not only have
duplicates for use as controls, but also incorporate the principle of
isolation of the aural sense as do the tone-bars and sound-cylinders.
The bells. The booklets suggest many uses of the single bell and
describedvarious procedures for using bells accordingto the prescribed
sequences: (1) sensory exploration of the single instrument, (2) aural
matching of two different instruments with the same pitch, and (3)
grading of three or more instruments with different pitches. The
booklets also include instructions for exercises on the intellectual and
verbalplane, normallyused after the sensoryexperiences. Other uses of
the bells include recreation of familiar tunes and creation of original
tunes.
The bells have been described somewhatby Faulmann(1980) both in
their 1912 experimental stage and in their 1917 more refined design.
The ranges cited by Faulmannare confusing since "theoctave from A to
a' "(p. 42) reallycovers two octavesand "theoctave from middle C to c' "
(p. 42) would be only a prime. Actually, the bells used currently are
pitched from c3 to c4 and one suspects that the 1917 version must have
been tuned within the same range since bells pitched octaves lower
would have been of formidable size.
In the final refinement of the bells, the element of pitch is further
isolated from such concurrent phenomena as duration and dynamicsby
means of a felt-tipped damper to control duration and a technique for
minimizing dynamic differences by striking the bell with a long slender
mallet to be swung in the manner of a pendulum set in motion by loosely
held fingers poised above the bell.
The tone-bars."It was in 1914 that Doctor Montessori invented the
systemof tone-barswith which any scale can be composed and played by
a small child"(Maccheroni,no date, p. 31). Yet Booklets 3, 6, 7, 8, 9, and
10 that are devoted to these exercises make no mention of these. Bells or
keyboards produce the pitches instead. This supports conjecture that
Maccheroni'sbooklets were begun before 1912. The Rome publication
of Booklet 6 (Maccheroni, 1956) does, however, use the tone-bars.
The bells, covering only one octave, could only be used for the C scale,
while the tone-bars, covering two chromatic octaves, are capable of
demonstratingthe complete system of scales.
No duplicate set is provided for the bars as it is for the bells. Controls
are previous exercises with the bells and a two-piecewooden base for the
bars: each piece patterned with white and black in the manner of a
keyboard and comprising two identical tetrachords;and a guide-strip
called the "transposer"that indicates the whole and half steps of a scale,
invented by Montessori after consulting with Maccheroni about the
nature of scale structure (Booklet 6, p. 2).
Sound-cylinders.These are described by Montessorias consisting of "a
series of six cardboard cylinders. ... When these cases are shaken they
224 RUBIN

produce sounds (noises) varying in intensity from loud to almost

imperceptible sounds, according to the nature of the objects inside the
cylinder" (Montessori, 1965a, pp. 106-111). Today, the sound-cylinders
are manufactured of wood and contain materials that produce six
gradations of dynamic levels-from soft to loud, from sand to pebbles-
although many an ingenious Montessori instructor has substituted
identical, nontransparent salt shakers and orchestrated their own grada-
tions of dynamic levels.
For these cylinders, designed to isolate the aural sense while develop-
ing perceptions of timbre and dynamics, there is a duplicate set
provided. This makes it possible to use them in exercises, first, to match
and second, to grade-all in accordance with Montessori's procedural
and perceptual sequences.
Is it a remarkable coincidence that Milan was both the city where
Maccheroni, associated with the Conservatory of Milan, was directress of
a Montessori school opened in 1908 (Montessori, 1964a, p. 204; 1965b,
p. 348) and where Luigi Russolo, also associated with the Conservatory
of Milan, issued his famous futurist manifesto (1913) in which he, too,
classified the futurist orchestra into six dynamic gradations of noises
(Baker, 1965) ranging from explosions and crashes to shrieks and
groans? If not, the general prevalence of noise in 20th century music
(the "bruitisme" movement, etc.) may have some of its roots in the six
Montessori sound-cylinders. If this is so, there should be some implica-
tions for 20th century educators as well as composers.

Scope
Included in the "first steps" (Montessori, 1965b, p. 319) of the method
exposed by Montessori is a description of the Montessorian "Game of
Silence," sometimes referred to as "Lesson of Silence" (Montessori,
1964a, pp. 208-20). This exercise in attaining deeper and deeper levels
of quiescence is considered a prerequisite for all sensory perception,
particularly the aural sense.
With such preparatory sensory training and the extended work of
Maccheroni that includes music theory, ear training, harmony, history,
analysis, and the science of acoustics, the Montessorian music method
became one of the most extensive programs known. Even the Dalcroze
method, which is unusual by reason of its extended coverage, does not
include the preparatory training offered in the Montessorian program.
Montessori, who incorporated some Dalcroze exercises in her own
program, stated: "This was proof to us that sensorial preparation must
precede these [Dalcroze] exercises, and furthermore, that the only
difficulty Dalcroze movements encounter in children arises from insuffi-
cient sensory preparation in the children themselves" (Montessori,
1965b, p. 360).
Nor is the quantity of Montessorian coverage accomplished at the
expense of quality. As an example, the abstract science of acoustics is
demonstrated concretely with the help of (1) the resonators of Helm-
holtz, (2) the wheel of Savart (a notched wheel and a strip of metal that
 JRME 225

created friction with the teeth of the wheel, (3) the siren of Seebeck (a
spinning disk with holes through which air is blown from a hose), (4) a
glass bell (covering a musical bell struck with a mechanical hammer)
from which the air is sucked out through a hose until a vacuum is
created, and (5) numerous other devices including the previously
mentioned monochord, the familiar tuning fork, and needles attached
to vibrating bodies to trace their vibrations on paper blackened with
smoke.
Thus the Montessorianprogram began with the Lesson of Silence and
ended with conceptual abstractions of supersonics. In so doing, the
scope of this method has come full circle and has closed upon silence.
DISCUSSION

A legacy of possibilitiesfor further academic research is provided by

the information in this article in combination with the published works
of Montessori.Some possibilitieswould include: (1) a compilationof all
information on music education scattered throughout Montessori's
publications (never compiled because of the Montessorian concept of
integrated subject matter); (2) a continuation of the search for additional
Maccheroni publications; (3) more biographical information on Mac-
cheroni; (4) research on the possibilityof a connection between Montes-
sorian graphic notation and the graphic notation of Stockhausen or
Shillinger whose work on a new system of graphic notation was begun
while a student at the Saint Petersburg Conservatory in 1914 (Schil-
linger, 1946, Introduction, p. 12), oddly enough, the same year in which
a Montessori school opened there and "five different versions of her
[Montessori's] book were made in Russia alone" (Standing, 1962, p. 64);
(5) research on the possibility of a connection between the six dynamic
gradations of Russolo's futurist orchestra and the six Montessori sound-
cylinders; and (6) statistical studies on any aspect of music training in a
certified Montessori environment (as yet not done because of the
Montessorian belief that learning is not always manifest, measurable, or
immediate-a belief that is sobering as well as challenging).
In the meantime, music educators might consider the possible advan-
tages of applying the Montessorian philosophy of education and con-
cepts of auto-education, control of error, and isolation of the aural
senses. Within this framework and with the help of explications in this
article and the use of Montessori instruments available through the
catalog of the Montessori distributing firm of Nienhuis (Nienhuis), they
might then implement any of the unique aspects cited. Most important-
ly, they might pursue the approach to ear training-certainly one of the
greatest needs in the profession. This may also be one of the most
significant contributions of the Montessorian method of music educa-
tion.
REFERENCES
Baker's Biographical Dictionaryof Musicians.(1965). (5th ed., rev. ed.). New
York: G. Shirmer.
226 RUBIN

Faulmann,J. (1980). Montessoriand Musicin EarlyChildhood.MusicEducators

Journal, 66(1), 41-43.
Maccheroni,A. M. Set of thirty-fiveunpublished booklets on Montessorian
music education. Manuscript.
Maccheroni, A. M. (No date). The MontessorianMethod:Music and the Child. (No
publicationdata)
Maccheroni,A. M. (1956). Costruisco
la scala.Rome: Vita dell'infanzia.
Maccheroni,A. M. (No date). Orecchio,
voce,occhio,mano.Rome:Vita dell'infan-
zia.
Maccheroni,A. M. (1966). Developing theMusicalSenses(R. Thibodeau,Ed., and
R. Brienza,Trans.). Cincinnati:World LibraryPublications.
Maccheroni,A. M. (1950). II primolibrodel bambino.
Rome: Vita dell'infanzia.
Maccheroni, A. M. (1946). A TrueRomance:DoctorMaria Montessorias I KnewHer.
Edinburgh.
Montessori,M. (1966). The Discoveryof the Child, (M. Johnstone, Trans.).
Adyar India: KalakshetraPublications.(Originalwork published 1948)
Montessori, M. (1965a). Dr. Montessori'sOwn Handbook. New York: Schocken
Books. (Originalwork published 1914).
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May 16, 1983