1. Sense of pitch 2. Sense of intensity 3. Sense of time 4. Sense of extensity _B._ Complex Capacities 1. Sense of timbre 2. Sense of rhythm 3. Sense of consonance 4. Sense of volume II. Musical Action Natural capacity for skill in accurate and musically expressive production of tones (vocal or instrumental or both) in 1. Control of pitch 2. Control of intensity 3. Control of time 4. Control of timbre 5. Control of rhythm 6. Control of volume III. Musical Memory and Imagination 1. Auditory imagery 2. Motor imagery 3. Creative imagination 4. Memory span 5. Learning power IV. Musical Intellect 1. Musical free association 2. Musical power of reflection 3. General intelligence V. Musical Feeling 1. Musical taste: likes and dislikes 2. Emotional reaction to music 3. Emotional self-expression in music Seashore has succeeded in devising, standardizing, and making available for practical purposes scales of measurement for five of the basic capacities of musical sensitivity. These are for pitch, intensity, time, consonance, and tonal memory. Research is under way to bring the other elements of musical talent similarly within the province of mental measurement. Attempts to study movement as an element in musical talent are exemplified by the recent investigations of Gatewood and of Hansen. Gatewood studied finger-movement in a number of persons, and found that there exist those who, even with great amounts of practice, do not approximate the speed and accuracy which others show on the first trial. However, the investigation of the motor elements in musical talent has not progressed as yet to a point that would enable us to make positive statements useful to educators; but it is obvious that for guidance they are fully as important as the acoustic elements are. IV. RELATION AMONG VARIOUS ELEMENTS OF MUSICAL TALENT Correlation has proved that sense of pitch and sense of time are largely independent of each other. Persons may stand high in one and low in the other. We know even now, therefore, that the elements of talent are independent or partially independent variables, and that excellence in one may be accompanied by inferiority in another. The successful musician is he who combines the necessary elements in high degree. Most children combine the elements in moderate or typical degrees of each, and are able to learn music and enjoy it in the ordinary manner. Only a few are capable of becoming professional performers. Schussler concluded that 5 to 10 per cent of the pupils examined by him might be justly classified as unmusical. A similar percentage would doubtless be classified as very musical, of whom a small proportion would be capable of outstanding musical achievement. V. RELATION BETWEEN MUSICAL TALENT AND GENERAL INTELLIGENCE