The policy is general, even though it is not everywhere equally pronounced, and but few of the larger universities are in a position to carry it out on a broad scale. This endeavor is organized in various ways. Some universities such as Yale, Michigan, Wisconsin, and Illinois possess Schools of Music which are genuine professional schools similar to our medical and law schools. Others such as California, Columbia, Harvard, and Princeton have music departments which, though integrated in the Colleges of Liberal Arts, include in their curricula not only composition courses frankly professional in standard and aim, but also generally high-quality courses in the performance of choral, orchestral, and chamber music and, frequently, in opera. Some universities support “Quartets in Residence,” generally established ensembles which are under contract to contribute their services during a certain portion of each year for campus concerts and instruction as well. The Pro Arte Quartet at Wisconsin, the Griller Quartet at the University of California at Berkeley, and the Walden Quartet at the University of Illinois are examples. In some respects, this program constitutes a radical departure from the traditional role of the university as established in Europe. It is the result of a long and frequently complex evolution. Some academicians, even in departments of music, deplore this departure, while others feel that it should be limited. No doubt the idea has brought about new problems including that concerning the relationship of scholarship and creative production, a problem existing already on the elementary technical level, and one that cannot as yet be solved. All of these problems involve various aspects of academic life and undeniably are difficult in the extreme. The greatest pitfall, as far as the production of music is concerned, is the danger of confused mentalities. What are the ultimate obligations of the practical musician as compared to those of the scholar? There is a tendency in some quarters to train the former in terms appropriate to the latter, inculcating in him criteria which are taken from music history and aesthetic theory rather than from music as a direct experience. Often an exaggerated reverence for music theory as a source for valid artistic criteria can be observed. However, contact of scholars with practical musicians often is fruitful: one can give the other something valid by way of sharpened insight into his own task.