"Like Scriabin, Scott looks to Music as a means to carry further the spiritual evolution of the race, and believes that it has occult properties of which only a few enlightened people are aware."[31] There can be no doubt that this survival-value of Music lies in its power to assist spiritual unfoldment and progress, and if the serious practice of music involves a certain discipline of plain living and high thinking, are not these themselves adjuncts to a progressive evolution? Where the adequate interpretation of music involves a certain abnegation and unselfishness in the case of a soloist, and a large measure of team-play and co-operation in the case of concerted work, are not these again elements in inculcating an attitude that transcends self? Does not the simple appreciation of music tend to unlock the doors of imagination and set it free in regions far removed from the gross? And are not all these so many aids to higher ends? [Note 31: Eaglefield Hull. "Cyril Scott."] If the inspiration that is in music and works through it serves to awaken us to the fact that the world of spirit is very close at all times, and that our knowledge of it and our communion therewith is solely limited by our capacity of fine response, it will have done something of incalculable value. If it arouses in us the desire to fit ourselves by aspiration and a high resolve to achieve that delicacy of sensitiveness whereby we ourselves may catch some of the spirit's tenuous message, it will have served to put us in touch with eternal influences. It should certainly assist in breaking down any leanings towards a gospel of materialism with all its naked selfishness, and in so doing "Art is calling us the 'children of the immortal,' and proclaiming our right to dwell in the heavenly worlds."[32] [Note 32: Rabindranath Tagore. "Personality."]