mation as the prime purpose of college teaching. The relaxation
came with the recognition of aesthetic pursuits as "outside interests,"
and organization and endowment soon followed. But a college art museum
logically involves lectures upon art, a theater an authoritative
regulation of the things offered therein, a concert hall and concert
courses instruction in the history and appreciation of music. And so,
with surprising celerity, the colleges began to readjust their schemes
to admit those agencies that act upon the emotion as well as the
understanding, and the problem how to bring aesthetic culture into a
working union with the traditional aims and the larger social
opportunities of the college faced the college educator, and disturbed
his repose with its peremptory insistence upon a practical solution.

=Problems in teaching of music in the college=

Although the question of purpose, method, and adaptation presents
general difficulties of similar character in respect to the college
administration of all the fine arts, music is undoubtedly the most
embarrassing item in the list. In this department of our colleges
there is no common conviction as to methods, no standardized system;
but rather a bewildering disagreement in regard to the subjects to be
taught, the extent and nature of their recognition, the character of
the response to be expected of the student mind, and the kind of gauge
by which that response shall be measured by teachers, deans, and
registrars. In the matter of literature and the arts of design, where
there is likewise an implicit intention of enriching aesthetic
appreciation, an agreement is more easily reached, by reason of their
closer relationship to outer life, to action, and the more familiar
processes of thought. Few would maintain that the purpose of college
courses in English literature is to train professional novelists and
poets; the college leaves to the special art schools and to private
studios the development of painters, sculptors, and architects. What
remains to the college is reasonably clear. But in music, on the
contrary, the function of the college is by no means so evident as to
induce anything like general agreement. Should the musical courses be
exclusively cultural, or should they be so shaped as to provide
training for professional work in composition or performance? Should
they be "practical" (that is, playing and singing), or simply
theoretical (harmony, counterpoint, et