The three generally accepted divisions of mind are (_a_) intellect; (_b_) feelings; and (_c_) will; and in these directions the teaching of music should have far-reaching effects upon the culture and the outlook. Observation is the root of all mental growth: it supplies the mind with the necessary food for development and expansion, and according to the range and definiteness of the evidence supplied by the senses, so is the foundation laid for a good memory and a lively quality of imagination. The earliest lessons will thus be a stimulus to mental growth: the pupil will learn to take in by the eye and the ear, and what he takes in will enable him to understand and to appreciate more and yet more. He will be taught that everything in music means something, and even exercises will be invested with a meaning and a purpose of their own. Purely mechanical work has gone, never, we may hope, to return: and meaningless music is discarded in favour of that which expresses something. It may illustrate a mood or an emotion, a scene, an action, or a fairy tale--it matters not what so long as it possesses a meaning to lend it point and purpose. So right from the beginning the action of the pupil will be the expression of the emotions and ideas that hold sway in his mind. In this connection we may quote an actual instance. A teacher writes:--"A young pupil (age 14) came for a lesson, playing Farjeon's 'Prelude and Pavane.' She had learnt the 'Prelude,' and had had one lesson, a fortnight before, on the 'Pavane.' We went through the technique, and I told her a little about the 'Pavane'--when it was danced, the derivation of the name, and so on. When she played it, she played it very, very slowly, but quite correctly and finished in detail. I asked her if she liked it quite as slowly as that, and she replied that she thought 'the Court ladies with their long dresses would not be able to dance any quicker' and that it 'sounded grander very slowly.' So I left it." This, we may add, is an illustration of method quoted by a teacher in a diploma Examination paper, but it aptly shows the new spirit. The teacher had no mind to force her own views upon the pupil. Had she insisted that the dance should be played more quickly, she might have spoiled the child's mental picture and destroyed her interest in the piece. The incident also points the way in which the pupil's observation, imagination, and powers of deduction were being stimulated, so that, as we have been endeavouring to show, the music--of value for its own sake--was also ministering to the larger end of life-growth.