We are accustomed to justify such divergence, or at least some of its results, in terms of a somewhat pragmatic philosophy; this author disagrees with that philosophy. Present criticism concerns, however, but the effect of this confusion on our musical development. It must be admitted that much of the musical or quasi-musical instruction given in our elementary and high schools has little or no value whatever from this point of view. This is said with due reserve; conditions vary not only because of individual and local differences, but because the organization and even the underlying concepts of education vary from state to state. However, instruction at those levels is limited too often to lessons in “sight singing,” a kind of primitive solfeggio, to a small degree of facility on instruments designed to equip players for the school orchestra, and finally to the “appreciation” course. While the results are varied, in certain localities energetic teachers or groups have accomplished impressive feats and sometimes, in the cases of gifted students, have reached an almost professional level. Too often, however, the prevailing idea behind the teaching has little to do with truly musical achievement, and the gifted youngster may well find himself quite lost in truly artistic surroundings. If he wishes to work seriously, he must have recourse to the conservatory or to private instruction; and he must pursue his studies outside of, and in addition to the school curriculum. The above picture, of course, is generalized, even though it is doubtlessly accurate. Aside from exceptions, the system is less rigid than a brief summary could demonstrate. Again, our culture is fluid and development rapid. One recalls the establishment, nearly two decades ago, of the High School of Music and Art in New York, and similar establishments come to mind, but such practical institutions scarcely answer the problem of fares suitable for both amateurs and professionals. In the universities the picture is different and the development impressive, though not devoid of problems. To understand what is going on, let us consider the role which the university plays in our culture. In our universities the most independent forces of American culture seem to gather--influences free from political or commercial pressures; the universities, more than any other institutions, sustain their role as strongholds of independent and liberal thought, and, with a few regrettable exceptions, they are jealously committed to the conservation of that independence. They shelter the cultural activities which have difficulty acclimatizing themselves to the excesses of commercialism, and they provide means for the independent existence of worthy activities within their own walls.