who have gone through the experience. Furthermore, by cultivating music in this way, we should gradually break down some of the social conditions which now operate against the art. If we all knew more about it and loved it for itself, we should give over our present adulation of technique. We should put the performer where he belongs as an interpreter of a greater man’s ideas. By our uncritical adulations we place him on far too high a pedestal. IV. THE PERFORMER AND THE PUBLIC I have spoken of certain social conditions which affect music unfavorably. There has been always a certain outcry against music because of its supposed emotionalism. The eye of cold intelligence, seeing the music-lover enthralled by a symphony, raises its lid in icy contempt for such a creature of feeling. The sociologist, observing musical performers, wonders why music seems to affect the appearance and the conduct of some of them so unfavorably. The pedagogue, who has his correct educational formula which operates like an adding-machine, and automatically turns out a certain number of mechanically educated children, each with a diploma clutched in a nervous hand--he tolerates music because it makes a pleasant break in diploma-giving at graduation time, and because it pleases the parents. The business man leaves music to his wife and daughters and is willing to subscribe to a symphony orchestra provided he does not have to go to hear it play. Now, if the sociologist would put himself in the place of the singer, who, endowed by nature with a fine voice, is able, on account of a public indifferently educated in music, to gain applause and an undue source of money, even though he has never achieved education of any sort whatever--if the sociologist would but think a little _about sociology_, he would perhaps finally understand that he himself is very likely at fault. For it is very likely that he knows almost nothing of this art which is one of the greatest forces at his disposal. He is, perhaps, one of the large number of persons who make musical conditions what they are. Public performers are the victims, not the criminals. We must remember of old how disastrous has been the isolation of any class of workers from their fellows.