_Musical imagination._ Music is by no means limited to what is composed, performed and listened to in the objective situation. Its main field of operation lies beyond the sensory impressions and overt actions. Its principal domain is the tonal world of memory, imagination, thought, and pure feeling. Millions of people are today under the spell of _Over the Rainbow_, as rendered in _The Wizard of Oz_, a simple, compelling thing which takes possession of us in the dream, and in the humdrum of daily activities; it lives within us realistically, quite apart from actual sounds so long as it is novel. This is especially true of the higher forms of art with all their intricacy and refinements in artistic form which the trained musician can re-live or create. _Over the Rainbow_, the expression of our freedom and self-realization in the spirit of adventure, lies within the power of music. _Who loves music?_ The love of music is not universal. Deep, warm, and poised devotion to music is comparatively rare. Much of music is plain work, sheer drudgery. Much is climbing toward a goal never to be attained. Many who ply the art of music can hardly be said to love it in the long run. There are aspiring artists who devote a lifetime to the mastery of the skills, but become hypercritical and sour when they fail to feel the esthetic glow or gain the command of public acclaim. Many an aspiring amateur suffers a similar defeat. To the masses, music is but fleeting incidents, occasional whiffs of the overflow from the wealth of human appeals to a latent artistic nature. It is a notorious fact that many who profess a love of music do not have it, but are mere pretenders and imitators, conscious or unconscious, and that many who disavow it are merely dying with all their music in them. For such failures and inadequacies there are many possible explanations. One of the impediments to the love of music is the absence of the "gift", a naturally musical mind. In this there are enormous differences in kind and degree. It follows that there will be corresponding differences in the kind and degree of love for music. While music springs spontaneously in the gifted child and youth, education is as essential for music as it is for science or language. One might as well attempt to acquire learning without study as to acquire music without training. Then again, as is a person's intelligence, so is his music. And creative imagination is a tool with which music is fashioned from childhood to the heights of artistry. Furthermore, we must recognize that for really expressive love and devotion to music we must look to the often justly or unjustly maligned musical temperament.