(8) The scientific approach to the problem of musical inheritance can be made through psychophysical measurements of musical capacities with biological interpretation in terms of genes. (9) There is a considerable body of general biological principles of heredity which probably apply to the inheritance of musical talent. (10) Scientific study of the nature and the role of musical environment must begin with knowledge of what is "given", the original hereditary stock. Consider These Questions (1) What bad effects in education come from overemphasis of (a) heredity, (b) environment? (2) What educational advantages will accrue to the child from a sound and balanced recognition of the role of (a) heredity, (b) environment? (3) What would be the advantage of knowing scientific laws of musical inheritance? (4) What is new to you in the author's proposal? (5) Do you accept the author's theory of the relation between body and mind? (6) Why can we not derive laws of musical inheritance from statistical studies of musical achievement? Discuss These Situations (1) A music teacher says "Give me a normal child and I will guarantee to make him musical." What qualifications would you suggest? (2) A teacher has measured a child's sense of pitch and found it superior. Should she say "You are highly musical," or "You have a superior sense of pitch?" What is the difference? (3) An investigator has recently collected interesting material by interviewing (a) thirty-six of the outstanding musicians of the world, (b) the entire cast (thirty-six) of the Metropolitan Opera Company, and (c) fifty selected graduate students in the Juilliard School of Music, about their parents, and other blood relatives and has attempted to interpret the findings in terms of genes. Granting that his theory of genes is correct, what is it that limits or invalidates the procedure? (4) Long ago the author investigated the musical ability of three children in a minister's family and found that the oldest daughter rated very low on basic capacities and that she had not made satisfactory progress in eight years of musical training. The younger sister rated very high in musical capacities and had made splendid progress with but a few lessons. The brother, the youngest of the three, was like the younger sister. The minister held that where the great Creator had made the children unequal, it was his business to make them equal, and so he sent the eldest daughter to the New England Conservatory of Music where she was accepted and graduated and now holds a diploma, though, in her community, a musical nonentity.