_The teacher._ The recognition of this principle of self-determination and the sustained will to achieve has revolutionized the art of teaching, or we may say better, has laid the beginnings for an art of teaching. One of the greatest obstacles the teacher encounters is the traditional social demand, and often the recognized objective in the profession, to make everybody musical. Finding that there is no adequate natural interest and no marks of gratifying achievement are developing, the teacher settles down to the sledge-hammer method of forced development. We must therefore bespeak for the live music teacher the right to refuse to make gold out of iron. The private teacher's fee and the tuition of the school are, of course, the temptations of the devil to face the situation with complacence. The constituency granting lenience in this respect has the right to expect that, in turn, the teacher understands and has exercised the effective means of self-discovery, self-orientation, self-determination, and self-motivation on the part of those who are on the border line. In this art, the profession has made but little progress so far. The constituency also has the right to impose the obligation upon the teacher to respect the individuality of the gifted and to give all types of freedom to the pupil commensurate with his natural line and degree of successful achievement in developing appreciation for various types of music. In breaking with the traditional routines of musical drill, the teacher must first of all give up the attempt to cast the musical mind of the child in the mold of his or her own pattern. This principle has acquired its greatest significance in dealing with the highly gifted, where it is clearly substantiated by the musical history of precocious children. The public must acquire tolerance for the principle of giving musical facilities to child and youth in proportion to this self-determination and demonstrated ability to achieve. The great musician and the musical virtuoso are not fostered by educational or social conformance but primarily by the enjoyment of the principle of free determination and development of divergent personality. _The critic._ The music critic unfortunately, as a rule, is a newspaper man and must conform to the pressure methods of efficiency in writing down. This newspaper ability has often been the basis for the unfortunate selection of musical critics. On the other hand, the thoroughly competent musical critic, if he were to ply his art as a technician, would find but small outlet for publication and a negligible constituency of readers. He would face, most discouragingly, the fact that many of the performers on the stage do not have critical knowledge of what they are doing and are not interested or even capable of reading the highly technical and critical analysis of their performance. So we must be tolerant with the musical critic.