The two-fold progress of an education in tone perception, and an increasing ability to employ elaborate combinations for the expression of feelings too high-strung for the older forms of expression, is observable in almost all stages of musical history, and in our own days has received a striking illustration in the progress made in appreciating the works of the latest of the great musical geniuses, Richard Wagner, whose music twenty-five years ago was regarded by the public generally as unmusical and atrocious; whereas now it is heard with pleasure, and takes hold of the more advanced musical minds with a firmness beyond that of any other musical production. The explanation is to be found in the development of finer tone perceptions--the ability to co-ordinate tonal combinations so distantly related that to the musical ears of a generation ago their relation was not recognized, therefore to those ears they were not music. Wagner felt these strange combinations as music. The deeper relations between tones and chords apparently remote, he felt, and employed them for the expression of his imagination. Other ears now feel them as he did. An education has taken place. 5. It is altogether likely that the education will still go on until many new combinations which to our ears would be meaningless will become a part of the ordinary vernacular of the art. Indeed, a writer quite recently (Julius Klauser, in "The Septonnate") points out a vast amount of musical material already contained within our tonal systems which as yet is entirely unused. The new chords and relations thus suggested are quite in line with the additions made by Wagner to the vocabulary of his day. III. 6. There are certain conditions which must be met before a fine art will be developed. These it is worth while to consider briefly: