Physiological irritability, 43; Tonal sensitivity, 43; Artistic license, 44; Ear-mindedness, 45; Affective response, 45; The esthetic mood, 46; Exhibitionism, 46; Symbolism, 47; Precocity, 47. Thought Review 48 VI Musical Inheritance 50 Essential Premises 50 Psychophysical Measurements 54 Thought Review 59 VII The Future of Musical Instruments 62 Possible Lines of Development 63 The improvement of existing instruments, 64; New substitutes for existing instruments, 65; New ensembles, 66. New Music 67 Playing 69 Specifications for Instrument Construction 70 Pitch, 70; Loudness, 70; Time, 71; Timbre, 71. Thought Review 72 VIII Praise and Blame in Music 74 Vantage Grounds 75 Artistic insight, 75; The scientific attitude, 76; Terminology, 76; Musical talent, 77. Parties Concerned 77 The pupil, 77; The teacher, 78; The critic, 79; The public, 80. Thought Review 81 Chapter I WHY DO WE LOVE MUSIC? Why does a person love his sweetheart, his food, his safety, his social fellowship, his communion with nature, his God, approaches to the ultimate goals of truth, goodness, and beauty? The answer to each of these is a long story, involving not only common sense and scientific observation but a profound intuitive insight, a self-revelation. In all, it will be found that love is a favorable response, a reaching out for the satisfaction of a fundamental human need, an effort to secure possession, and a willingness to give an equivalent, indeed a more or less unconditional surrender.