What we term countercurrents to the manifold tendencies heretofore discussed, may already in part have superseded former attitudes, and in part may become dominant at the present time. Countercurrents continually attract a large number of gifted and intelligent young musicians who regard cultural nationalism with irony, as a formula too facile to constitute a definitive solution of our musical problems. They look with irony at the quest for audience appeal, which to them lacks musical conviction, even though occasionally it may be motivated by certain social beliefs. They are restive under the older attitudes aimed at helping the American composer as a matter of principle. They feel that such aims do not imply necessity, real desire, respect for, or interest in, the music Americans are writing, and to which they give all the resources they possess. This segment of our young people has observed that musical nationalism, whatever its special orientation, by this time has lost the freshness of a new approach and has acquired the character of a provincial manifestation. This segment sees quite clearly that jazz remains a particular _genre_ admirably suited to its own aims, but in no sense capable of becoming a style, since style, if it is to be real, must cover all visible musical possibilities and be responsive to all vital, musical, and expressive impulses. These young musicians are wholly able to enjoy jazz and even to become adepts, without pretensions and illusions. They are conscious, however, of the manner in which certain composers, who within their memories were once considered “esoteric,” have achieved almost classic status, are regularly if not frequently performed, and often harvest great success. Bártòk, and to some extent Alban Berg, come to their minds, and they have noticed the manner in which these composers have achieved what practically no one expected. The influence of European musicians who found refuge here during the thirties and the early years of World War II, the most distinguished as well as the most modest, can scarcely be overestimated. It is unnecessary to speak of the important role they have played, since that is well known; looking back at the situation as it presented itself at the time, one can be impressed both by the cordiality with which they were nearly always received and by the spirit in which, with few exceptions, they embraced the entirely new conditions history had thrust upon them. These facts are in the best American tradition, as is the immense contribution they have made, partly through their activities as musicians, partly through the successes achieved through their understanding of a unique cultural situation.