We are dealing, in other words, with a concept of American music differing sharply from that heretofore discussed: one which views the United States basically as a new embodiment of the occidental spirit, finding in that spirit not only the premises but the basic directives which have given our national development its authentic character. Such a view assumes the cultural independence of the United States both as a fact and as a natural goal; this matter requires no discussion, even though unfortunately it is still necessary, on occasion, to insist on it. The same view also recognizes that real independence is an intimate and inherent quality which is acquired through maturity, and not a device with which one can emblazon one’s self by adopting slogans or programs of action. “American character” in music, therefore, is bound to come only from within, a quality to be discovered in _any_ genuine and mature music written by an American, is a by-product of such music, to be recognized, no doubt, _after_ the fact, but not to be sought out beforehand and on the basis of preconceived ideas. Only when the ideas are no longer preconceived, when, in other words, a large body of music of all kinds will have brought a secure tradition into being, then the American musical profile will emerge and the question of American style or character assume meaning. In the meantime, it is necessary to maintain an independent attitude toward “foreign influences” without being afraid of them. Furthermore, it will be better to remember how traditions, in the history of culture, invariably have crossed frontiers and served to nourish new thoughts, the new impulses toward new forms and new styles: just as Dutch music nourished Italian in the sixteenth century, Italian music nourished German some hundred and fifty years later. The real task of the American composer is basically simple: it is that of winning for himself the means of bringing to life the music to which he listens within himself. This is identical with the task that has confronted all composers at all times, and in our age it involves, everywhere and in like manner, facing in our own way the problems of American music with single-mindedness and genuine dedication. Naturally, it obligates us to absorb the music culture not just of this or that country, but to seek large horizons and to explore indefatigably from a point of vantage.