The keen satisfaction which comes to the extremely sensitive has been expressed by some of them in words. Schumann said of another musician, “He who has once heard Henselt can never forget his playing; these pieces still haunt my memory like the recollection of a parterre of flowers.” And again, “The veiled enjoyment of music which one does not hear, has something magical in it.” Berlioz has given us this glimpse of his delight: “Last night I dreamt of music, this morning I recalled it all and fell into one of those supernal ecstasies.... Believe me, dear friend, the being who could write such miracles of transcendant melody would be more than mortal.” Stanton questioned the talented and untalented relatives of musicians as to the rôle played by music in their daily lives. Many showing superior talent reported that music in some form seemed vital to their program of living. It was referred to by them as “a daily relaxation from business,” “a great source of courage, a spiritual tonic,” and as “absolutely paramount.” One person used the word “hunger,” in describing the longing which ensued upon being deprived of music. There may be people capable of such satisfaction in music, that they would choose between bread and music, if hard put to it, not without a struggle. REFERENCES AGNEW, M.—“The Auditory Imagery of Great Composers”; _University of Iowa Studies, 8. Psychological Monographs_, 1922. BERNFIELD, S.—“Zur Psychologie der Unmusikalischen”; _Archives für das gesammte Psychologie_, 1915. BOGGS, L.—“Studies in Absolute Pitch”; _American Journal of Psychology_, 1907. COPP, E. F.—“Musical Ability”; _Journal of Heredity_, 1916. EDGREN, J. G.—“Amusie (Musikalische Aphasie)”; _Deutsche Zeitschrift für Nervenheilkunde_, 1894. GATEWOOD, E. L.—“Individual Differences in Finger Reaction”; _Psychological Monographs_, 1920. GAW, E. A.—“A Survey of Musical Talent in a Music School”; _University of Iowa Studies, 8. Psychological Monographs_, 1922. GAW, E. A.—“Some Individual Difficulties in the Study of Music”; _Journal of Educational Research_, 1922. HANSEN, C. F.—“Serial Action as a Basic Measure of Motor Capacity”; _University of Iowa Studies, 8. Psychological Monographs_, 1922. KNOCK, C. J.—“Visual Training of the Pitch of the Voice”; _University of Iowa Studies, 8. Psychological Monographs_, 1922. KRIES, J. VON—“Ueber das absolut Gehör”; _Zeitschrift für Psychologie_, 1907. LEE, V.—“Varieties of Musical Experience”; _North American Review_, 1918. PANNENBERG, H. J., and W. A.—“Die Psychologie des Musikers”; _Zeitschrift für Psychologie_, 1915. PLATT, W.—_Child Music_; Simpkins, London, 1905. RÉVÉSZ, G.—“Prüfung der Musikalität”; _Zeitschrift für Psychologie_, 1920. RÉVÉSZ, G.—“Das musikalische Wunderkind”; _Zeitschrift für pädagogische Psychologie_, 1918.