May I introduce this article by giving two personal reminiscences? I once asked the Headmaster of a well-known choir school whether he had ever noticed that boys gifted with a keen musical perception remembered what they heard more easily than what they read. It was an unusual question, but the answer was immediate and unequivocal. Such, he agreed, was his experience. He had often wondered why many of his boys remembered so little of what they read; if, for example, he asked a class to sit down and read silently an Act of Hamlet and then afterwards examined them on their knowledge of it, he invariably found that the majority remembered far less than if he himself had read the Act aloud to them.
On another occasion, when I happened to live for several months with a musician of rare talents, I was always amused to find on entering his room a heap of garments in the middle of the floor. My amusement bewildered him; quite seriously he could not understand why such raiment should not occupy the centre of the room, provided, of course, the floor was clean. In this matter he was unteachable. I labelled him in my own mind the most untidy fellow I had ever met, until one evening, whilst he was playing, the simple truth dawned upon me. My friend was not untidy at all—he was non-tidy in the usual sense of the word ‘tidy.’ Tidiness for him was a musical, auricular, euphonic thing; it was harmony; and discord, dissonance, was untidiness.