_Artistic insight._ The extraordinarily rapid introduction of real music education in the grades and in the high school and college curricula, and even in graduate study, is changing the attitude of the listener by increasing his competence. Children and youth now hear more good music and hear it presented in such a way as to increase their understanding of it. At the college level music is presented as an academic subject, with primary emphasis upon the art of hearing music together with some knowledge of history and content of music. The training of high-school teachers of music has changed radically in a generation from the mere development of proficiency with an instrument or voice to a deeper insight into the nature of the art, its history, and its roles. At many levels well-developed courses in music appreciation have acquired a permanent status and have proved a good foundation for further penetration into the art of the appreciation of music. This implanting of points of view and development of esthetic attitudes in the academic instruction in the schools is hastened to fruitage by the popularizing of music for the masses through radio and phonograph as well as through the penetrating of the skills acquired in school into the home and social institutions. The popularizing of good music, where public entertainment in the parks and other public places is of good musical quality and furnished free or at popular prices, is a great help in developing a critical attitude even among those in other respects quite uneducated. Therefore, we may say with great satisfaction that training in the art of hearing music has come upon the educational horizon in America in a very promising way. _The scientific attitude._ We are constantly impressed with the analogy between scientific insight into the nature of music and the corresponding insight in other sciences, such as botany or astronomy. A child starts out with an inborn capacity and urge for the love of flowers; but as a student of flowers he soon encounters many marvelous revelations. On the one hand his horizon is broadened by acquaintance with larger and larger classes and varieties. He learns to see relationships to habitat. He learns to trace scientifically the laws of their evolution, the methods of artificial breeding and development of new plants, and even the beauty in their usefulness. On the other hand, he turns to his microscope and discovers not only the external parts visible to the naked eye but the internal structures, their modes of evolution and development, even down to the discovery of the mechanisms of heredity through the genes, which are so small that we know them only by inference from what the microscope reveals. The natural history of music is analogous to that of such a material science.