In spite of his association with mature musicians such as Bloch, Rosenfeld never learned to regard music as something other than a means of evocation, an art completely self-sufficient as a mode of expression, completely developed, an art which demands of its devotees all their resources of craft and personality. He was therefore not in a position to help young composers as a connoisseur, to give them a sense of the demands of their craft or of the essence of musical expression. He did succeed, to be sure, in giving them something much needed at that time: a lively sense of belonging to the whole cultural movement of the period. Other critics gave them not even that feeling. Confined to the limits of their profession and the premises discussed, they reported, more or less competently, events and the _faits divers_ of the daily music life. They concerned themselves little, and only incidentally, with contemporary music. The composers were growing and developing independently; and when, as toward the end of the decade, they found performers like Koussevitzky who took an interest in their music, the critics were neither conspicuously hostile nor conspicuously friendly, but remained indifferent to the prospects of a development of music in the United States. They were also reluctant seriously to consider either the issues involved or the influences which would have favored such a development. The critics contented themselves by “going along,” at least tentatively, with Koussevitzky and others of established reputation showing interest in this music.