Soon after six the child enters school. Here the principles of educational psychology, now so effectively applied to other primary and elementary school subjects, have revolutionized the presentation of music. This has of course been favored by the recognition of music on the level of the three R's. Music has come to function in the school not only as something to be learned but primarily as something to be lived. Primary teachers are, or will be, trained specifically for this subject. The old conflict between enthusiasts for rote singing, on the one hand, and for technical sight reading, on the other, is vanishing. The approach to music is following new avenues involving diversified action, creative imagination and thinking in music, recognition of individual differences, freedom for individual expression of musical feeling, opportunity for sampling various avenues of choice in expression, the association of music with play, dance, and dramatic action, opportunity for hearing music at the child's level, avoidance of the fostering of a narrow precocity, and recognition that there is music everywhere--in speech, in play, in nature. Parents who now aim to provide private lessons for formal training in some aspect of music must lay their plans in the light of all these facts which have come into view so strikingly in the school. They must understand and evaluate the significance of this movement in the school, the new status of music, the new role of private instruction in music, and the availability of a private teacher who can dovetail with these new facilities and responsibilities. In the hope of giving some helpful suggestions in regard to this planning, I wish to present some psychological considerations which are, at the present time, reconstructing the theory and practice of private lessons in music at this age. _A broadened conception of music._ In Chapter II I pointed out that children coming out of a favorable music situation in the home, the preschool, the kindergarten, and other school and playground activities have attained rather astonishing achievement. Let me repeat, for emphasis: "During the first six years there should be no formal musical instruction; but by the end of that period, the musical child should have gradually acquired a sense of appreciation for musical sounds, pleasure in self-expression in musical intonations, confidence in his ability to compose a tune, some proficiency in singing and good speech, and some degree of satisfaction in free playing with an instrument." This achievement now accomplished in many preschool communities presents a challenge to the primary teacher and the supervisor of music in the public schools. And, where pupils come without such preparation or background, they must begin from scratch and offer a substitute for it in more concentrated form.