ex of the
temporal lobe_, where there is situated the most important of all the
centres of hearing.

It will be apparent, on consideration, that "hearing" is a very
elaborate result, the outcome of many physiological processes
(initiated by physical ones), the initial and final being better
understood than the intermediate ones.

One asks, with natural curiosity and interest, "Is the auditory
apparatus of the highly endowed musician different from and superior
to that of the individual with little talent for music?"

It is not easy to give a short and definite answer to this question.
No special examinations of the essential parts of the ears of eminent
musicians have been made, so far as we are aware, and as yet few of
the brains of this class of men. It is, however, practically certain
that there is a brain development peculiar to the born musician, and
that this, whatever else it may be, involves a special excellence of
the auditory path within the brain, rather than any unusual
development of the essential parts of the ear. The individual who is a
musical prodigy has, without question, _a more perfect connection_
established between his auditory apparatus, in the widest sense of the
word, and those muscular mechanisms employed in the execution of
music, whether vocal or instrumental, than is the case with the
average man. Usually, with this goes a wide series of brain
associations or connections, we may presume, between the auditory
tracts and other regions, for without this it is difficult to explain
temperament and artistic perception. That they are not necessarily
associated, however, is clear from the fact that some have a high
degree of executive ability and little real artistic development.

It must never be forgotten, however, that whatever else music may be,
it is essentially and primarily a sensuous experience. The one who
enjoys music must feel its sensuous charm, and the artist who
furnishes that which is enjoyed addresses himself primarily to our
auditory mechanism. Executing music is hearing music, and enjoying
music is hearing music, though both may involve much more than this,
and herein individuals must differ greatly, owing to education, past
experience, etc.; but all who have the power to really appreciate
music must be capable of the sensuous enjoyment of tones. In this all
everywhere find something in common; often that which we enjoy is of
the most varied nature.

One thing is certain: th