The indifference of the students to the art, and their prejudice against music as an academic study, were harder to contend with. For twenty years Prof. Paine carried on his work without assistance in instruction and with small classes. Then the students seemed suddenly to wake up to the fact that a department of music conducted on the high plane of Oxford and the great German universities was a matter to be proud of, and they began in increasing numbers to embrace the rare advantage extended to them. When Prof. Paine retired he had three assistants in his work and over two hundred students in his classes. Prof. Walter R. Spalding, Mr. Paine's successor, aided by able teachers, such as Edward Burlingame Hill, instructor in musical history, have continued the good work of the founder. The course is essentially theoretical; it includes harmony, counterpoint, musical form, musical history, and the higher branches of composition, including orchestration. In 1912 the students of the department established the 'Harvard Musical Review,' a publication of high ideals. Professor Paine, and Professors Parker and MacDowell, his contemporaries at Yale and Columbia, respectively, achieved fame as practical exponents of the art in its highest realm. Professors of music in European universities as a rule are learned theorists and historians, but not composers. It is a moot question which class of instructors is the better. In behalf of instruction by a creative genius it is claimed that it inspires students with pride in their teacher and, if training is afforded in composition, with desire to emulate his achievements. In behalf of the academic drill-master it is urged that the thorough grounding which he imparts develops that all-round ability in music which, when the purpose is in time realized by students, will itself generate enthusiasm. The respective merits of the two systems may thus be summed up: the American early develops musical appreciation, the European musical knowledge. Since these qualities have reciprocal influence, it would seem that the two systems should be combined, at least in America, where musical appreciation on the part of the student can not always be assumed, as in Europe.