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3. EMJLATIVE. Thi? may also be called a demonstrative type of film, for it shows how to perform an act of skill or demonstrate pattern of behavior. This type of film has been very much in demand but it is difficult to accomplish because of conflicting schools of thought on technical problems. There are several films or film-strips on the market and some soon to be released on such topics as (a) nlay- ing of string instruments, (b) performing on brass and woodwind in- struments, (f) pedal technics, (g) vocal technics, (h) theory, (l) conducting, and (j) stage deportment. 4. INCENTIVE. This type of film is designed to motivate the development of attitudes and ideals and to inspire high standards of achievement and appreciation. They generally effect a Ftrong emotional response. Such films as THE PONG OF THE NATION or OFERA " r ITH GRACE MOORE or REHEARSAL and even many which are included in other classifications may serve here. There is another type of incentive film which calls for participation. Such films are THE AMERICAN SQUARE DANCE and LET'S . ALL SING TOGETHER. One cannot pass over film music education without considering a very im- portant area in film making, - the establishment and pursuance of the new art form of musio back-ground for films. The composer for the script is in much the same position as the theatre pianist or organist of the silent film days, when he had to jump from one mood to another as the drama un- folded. However, with the music on the film itself, the composer hag the opportunity to do artistic composition. And so, the film industry has attracted many of our great contemporary musicians on either a contract or free-lance basis. The industry has also taken directors of note to perform the musical scores. IVhile film writing is exacting, and each mu- sic score is often a series of unfinished sequences(though cleverly united by the composer's genius) and therefore can't stand on its own as a musi- cal unit, many scores have been excerpted for recordings and radio trans- criptions. FILM MUSIC NOTES, the publication of the National Film Music Council, carries a detailed music score of a current picture release in each issue of the magazine. A study of these scores, and an effort to fol- low the composition in its relation to the drama will do much to appreciate the complete integration of the arts in the motion picture. How to select films for teaching and to properly use them is an important story. The films are here and their inf luence is unquestioned. That they are time-savers and interest-getters is proven by experience. That they are effective story-tellers; That they present facts realistically; that they take the place of field trips or travel; That they.arouse emotions; that, because of time-lapse photography and slow motion, they clarify con- cepts; That they are usable at all levels and all areas of professions, in- dustries, and social strata; r 'hat they appeal to all degrees of intelligence; makes the uses of the sound film bound only by the imagination. However, the film cannot perform miracles. It is not the place for the lazy teacher or the indifferent student. It takes a clever teacher to properly teach with film. And, a lot of good teaching must go on, day by day, aside from the film» It is merely an aid to good learning and should be so con- sidered. 24