_The esthetic mood._ The musician is in search of the beautiful and therefore, conversely, responds unfavorably to the ugly. His professional life is, in the main, emotional as distinguished from the intellectual life of the scholar in other fields or the action-patterns of men of affairs. Whether he is a virtuoso, a creator of music, or a director, he is working on emotions through emotions, trying to re-create for the listener the feelings with which he himself is imbued. He lives so intensely and habitually in this activity that he becomes recognized as highly and persistently emotional. This extreme emotionality in his daily work sets him off against the matter-of-fact mind. We say of the intensely artistic person in action that he burns himself up. The emotional life is expensive and flitting; it flashes and explodes and is in danger of running out of control. This emotionality tends to transfer not only to other forms of art but to ordinary things and situations; such as, money, raiment, or social amenities. Sometimes this takes the form of the characteristic bohemian. He may spend his wages on payday and starve the rest of the month in utter complacence. All his life tends to be set at high tension. He lives dominantly in a mood and therefore often becomes objectionally moody through his impulsive behavior. _Exhibitionism._ There is an accretion to the musical temperament in a sort of hierarchy of defense reactions which may be characterized as exhibitionism. The musical mind is pulling on one end of a leash, as it were, trying to drag the more or less resistant and incapable into his own beautiful emotional life, and he feels the drag. Therefore, he becomes impatient and uses ways and means of exclusiveness in withdrawal from the world, or he takes the opposite attack--display. To him, countless means of personal display justify their end, the glorifying of his noble art. Therefore, we see the musical temperament in this artistic form in the manner of living, eating, dressing, and sleeping, and in the demand for hero worship. We see this in the extreme form in the conductor who feels that he must have his choir, his orchestra, his band members each individually at his command. He is like a general in action. For this purpose, he must pose as a great authority, as a hero standing for something superior in the way of personal interpretation, as a critical judge of the beautiful, as having undisputed power, feeling the necessity of imposing his own emotional individuality on a comparatively cool and often resistant group. This is true on a smaller scale in all musical leadership, composition, performance of the virtuoso, musical criticism and passionate listening.