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OVER a period of years many leaders in music education have docried the acarlemic stuffiness of some of the approaches to theory instruction. Author Walton is one of the sensitive musicians whose observations and practices must be welcomed by students to whom knowledge about the structure and components of music involves something more than geometrical and mathematical analysis of its anatomy. One editorial reader of this article stated that: “Even the introdiction of a paper which has the word ‘theory’ in its title forebodes dry and dismal literary landscape! Why not change the Walton title to something of more concord with the author's thought when he says: “The current trend is for the theory course to be broader in its scope, and to assume a more vital role in the music curriculum. In this broader concept, the term ‘theory’ seems most inadequate and narrow, and the term ‘musicianship’ is much more appropriate, since the development of musicianship is becoming the chief concern and core of theoretic study.”