This scientific insight into the structure and function of music goes hand in hand with the development of the artistic insight into the nature of the esthetic values from the point of view of the art of music. Thus the student of music is now furnished the facilities for increasing his power of appreciation of music and a critical awarding of praise or blame from two complementary points of view: a study of the art and a study of the science of music. _Terminology._ The mere matter of terminology here plays a very important role, as is now being demonstrated so successfully in the recent developments in the field of psychology of music and acoustics. Take, for example, the concept of tone quality. Until a few years ago there was probably not a single adequate statement of the nature of tone quality in the entire literature on music; and yet this is the most important element in music. In the past the listener and the student have generally approached the subject in an attitude of acceptance or rejection of the unanalyzed impression, but often with no more competence than that with which the ignorant shepherd appraises the grandeur and meaning of the heavens above on a starlit night. The teacher, as a rule, said "This is beautiful," or "This is ugly," without being able to give the reasons why, for want of a tangible terminology. The teaching and development of tone quality therefore has wallowed in a slough of despond. Recent researches in the field of musical acoustics are ushering in a new era. The structure of tone quality has been dissected, and its parts have been adequately described and defined. This is leading to an improved musical language. The same is true for other musical concepts. Thus, through the systematic development of musical terminology, there will gradually develop a scientific classification of the various aspects of the musical medium which is essential not only for the learning of music but also for the awarding of praise and blame. _Musical talent._ With this development of a knowledge of the nature of music, the scientific student of music has turned to the analysis of the nature of the musical mind attempting to assign specific roles to musical heredity and musical training and environment. Hazy concepts of the gift of music have been subjected to scientific analysis, experiment, and measurement. From this, it is being demonstrated that it is impossible to award praise or blame without taking a reasonable account of the innate fortes and faults of the performer which determine in large part the direction and limits of achievement or failure. The recognition of this fact, of course, plays its fundamental role in the early encouragement or discouragement of the inceptive musician, in the recognition of the purpose of his education, and in the motivation through training. PARTIES CONCERNED