It is, of course, fully recognized that at his best the musical performer is not conscious of making a direct appeal for approval by others. His objective is rather that of self-expression and experiment in the execution of an artistic skill. He is often aware of a negative attitude in his audience, and he may take an attitude of aloofness or superiority toward the audience, recognizing its incompetence. Yet back of it all, there may be even a distant hope of approval in a coming generation or the critical judgment of the select few; but the attitude of the immediate audience or the public toward his performance plays heavily upon his unanalyzed feelings and moods. The bases for musical praise and blame are notoriously inadequate, be they meaningless approval, empty flattery, or censorious criticism. A general attitude of spontaneous approval without knowing or giving reasons among listeners in general is praiseworthy as an expression of good will; but for serious purposes we must question the competence of the listener for the response manifested. The fault may lie in the listener's ignorance of the art of music, his incompetence in recognizing elements of merit, his failure to credit the performer in relation to natural ability or purpose. Praise or blame may also carry or miscarry in so far as it may wisely serve to motivate or discourage the performer on the specific issues involved in the performance. With the sudden popularizing of music, the incoming tendency is to associate music with the beginning of a scientific approach to the understanding of the music and the musician. This situation is changing at a gratifying rate for the good of music. It is worth while to consider in some detail the factors in this progress. VANTAGE GROUNDS