4. A balance of the three: composition, concerts, culture. Examples of where this ideal of rounded development is sought for are the women's colleges, Smith and Mount Holyoke, and co-educational institutions, such as Oberlin and Ohio Wesleyan, and the State Universities of Michigan, Wisconsin, and Nebraska. In the light they throw on the status of musical education in American universities the following authoritative statistics, the latest of the kind compiled, are illuminating: In a monograph on 'Music Instruction in the United States,' prepared by Arthur L. Manchester after exhaustive inquiry and published by the United States Bureau of Education in 1908, the enrollment of students of music in 151 colleges and universities was 18,971, of whom 5,257 were men and 13,714 were women. There was an average attendance in each institution of about 125. Dr. Rudolf Tombo, registrar of Columbia University, in an article in 'Science' for December 25, 1908, and January 1, 1909, stated that from statistics supplied him by twenty-five leading universities, not counting summer schools conducted under their auspices, ten had departments of music and five had courses of music. In a total attendance in all departments of all the twenty-five universities amounting to 35,885, the students of music numbered 1,940, which is only 5.4 per cent. of the total. When the great popular interest in music, as exhibited by the attendance at operas, concerts, and musical festivals, is taken into consideration, this low percentage would indicate that the universities are not adopting attractive methods of musical instruction. Evidently the cause of higher musical education will be more readily served by improving the character of instruction in the conservatories, where enthusiasm among the students prevails, than by attempting to wake up university men from their indifference to music--for enthusiasm is a prerequisite in all studies and pursuits. The pioneer in creating a department of music in American universities was John K. Paine, teacher of music in Harvard in one capacity or another from 1862 until 1905, when he retired on a pension. Although practical music courses, piano-playing and singing, were taught in women's colleges, notably Vassar, before Mr. Paine began his work in Harvard, he was the first teacher to direct his energies toward establishing music as an academic study, on an equality with all the other branches, counting like them for the arts degrees of A. B. and A. M. The history of music is obviously an academic study, and Mr. Paine judiciously began his campaign by securing permission in 1870 to deliver a university course of lectures on the subject. In 1870 he had persuaded the faculty to introduce harmony and counterpoint in the curriculum, counting for the bachelor of arts degree. After this vital concession, the faculty could not well deny to music full standing in the university. In 1875 Mr. Paine was appointed professor of music.