It may be asked why in this discussion of music education the music schools, the conservatories, have been left to the very end. There has been no thought of disparaging or underestimating what our conservatories have contributed to musical development. What they have accomplished, in the main, is precisely what one would expect. With exceptions such as a new (still problematical) approach to the teaching of theory at Juilliard, they have developed along normal lines. Instrumental and vocal instruction is often first class, they feed excellent players to our orchestras, and produce--as has been noted--an overabundance of young singers and instrumental performers. At Juilliard, the opera department deserves highest praise. For many years its productions have served as a model for those now almost the rule rather than the exception in music schools and music departments throughout the country; and in recent years it has given New York several of its relatively few experiences of contemporary opera. Equally impressive have been the achievements of the Juilliard School orchestra, which on repeated occasions has proved adequate to the demands of most difficult contemporary music. We cannot terminate this discussion without some lively praise for the American student of today. It seems that in these postwar years a new generation of students has entered upon the scene--a generation which, in the purposefulness and the courage with which its representatives undertake most exacting tasks, and in the devotion and the maturity with which they seek out the real challenges music can present, is sufficient proof that we have moved forward. They, above all, give us the liveliest, most unqualified sense of musical vitality, and the certainty that it will continue to develop. VI Throughout this discussion we meet recurrent motives which should be remembered if we are to understand what “goes on” in our music life. These motives will continue to come to mind in connection with specific and concrete instances. It may be useful, therefore, to mention some of them as a point of departure for the discussion of music criticism, or better, musical opinion in the United States.