The ancient belief in the moralizing influence of music has survived into modern times mainly in a somewhat more scientific form as a belief in its therapeutic effects in disordered nervous and mental conditions. (This also is an ancient belief as witnessed by the well-known example of David playing to Saul to dispel his melancholia.) In 1729 an apothecary of Oakham, Richard Broune, published a work entitled _Medicina Musica_, in which he argued that music was beneficial in many maladies. In more recent days there have been various experiments and cases brought forward showing its efficacy in special conditions. An American physician (W.F. Hutchinson) has shown that anæsthesia may be produced with accurately made tuning forks at certain rates of vibration (summarized in the _British Medical Journal_, June 4, 1898). Ferrand in a paper read before the Paris Academy of Medicine in September, 1895, gives reasons for classing some kinds of music as powerful antispasmodics with beneficial therapeutic action. The case was subsequently reported of a child in whom night-terrors were eased by calming music in a minor key. The value of music in lunatic asylums is well recognized; see e.g., Näcke, _Revue de Psychiatrie_, October, 1897. Vaschide and Vurpas (_Comptes Rendus de la Société de Biologie_, December 13, 1902) have recorded the case of a girl of 20, suffering from mental confusion with excitation and central motor disequilibrium, whose muscular equilibrium was restored and movements rendered more co-ordinated and adaptive under the influence of music. While there has been much extravagance in the ancient doctrine concerning the effects of music, the real effects are still considerable. Not only is this demonstrated by the experiments already referred to (p. 118), indicating the efficacy of musical sounds as physiological stimulants, but also by anatomical considerations. The roots of the auditory nerves, McKendrick has pointed out, are probably more widely distributed and have more extensive connections than those of any other nerve. The intricate connections of these nerves are still only being unraveled. This points to an explanation of how music penetrates to the very roots of our being, influencing by associational paths reflex mechanisms both cerebral and somatic, so that there is scarcely a function of the body that may not be affected by the rhythmical pulsations, melodic progressions, and harmonic combinations of musical tones. (_Nature_, June 15, 1899, p. 164.)