Once, with a class of fifty students, all relatively unprepared and some quite innocent of contact with contemporary music, I tried the experiment of familiarizing them, at the beginning of the course, with Schoenberg’s Fourth Quartet, one of the composer’s most “difficult” works. My whole effort was to bring them into contact with the music, and I deferred speaking of the problem of tonality, or the twelve-tone system, until the students knew the music thoroughly. By that time—believe it or not—one could hear the opening theme of the quartet, or other passages, being whistled by students on the campus. At the end of several weeks I spoke only briefly about the technical questions involved and they fell, it seemed to me, in their proper place. My students had learned to know—some to love—the music; their ears had been conquered.