Satis N. Coleman (1878-1961) expounded and embodied the seeking attitude she recommended for students throughout her long and influential career in music education. She founded her practices on contemporary and widely accepted theories of history, human development, and education. Coleman deemed herself a music education heretic because she continually opposed many current practices in music education. For example, in her teaching she employed a numerical notation for the early stages of music education, rejected the use of sol-fa, included dancing and singing, and taught her students to make musical instruments and compose music for them. Coleman's catchphrase primitive music for little primitives demonstrated how she had adopted the pervasive Theory of Recapitulation. This article uses Coleman's publications to demonstrate that, from the outset of her productive career, her ideas were well-thought out and well-founded on contemporary thinking in a range of disciplines. (1) Satis Narrona Barton graduated from the Graduate Tyler High School in Tyler,Texas in 1894 and, in the following year, from the Sam Houston Normal Institute in Huntsville, Texas. (2) Barton married Walter Moore Coleman (1863-1926) on March 13, 1896. (3) When they married, Walter, 33, was Professor of Biology at Sam Houston Normal Institute, a position he held from 1890 to 1908. (4) Satis and Walter had two sons, Charles (born 1900) and Walter (born 1907). (5) Galletly suggests initially Satis may have been influenced by her husband, who had broad interests, valued curiosity, and published on a wide range of subjects such as physiology, public health, zoology, the effect of radio waves on the beating heart, telepathy, and the workings of a battery.6 His breadth of interests matched hers. She published extensively on music and musical instruments, collaborated on song collections, and, towards the end of her career, wrote a book about volcanoes. (7) There are many resonances between their approaches to enquiry, although there may have been distance (both physical and emotional) between them during their marriage. Both had a renaissance mind and Galletly suggests there may have been a cross-fertilisation of ideas between these two intriguing characters. (8) While teaching at the Sam Houston Normal Institute, Walter Coleman produced a series of texts for students and their teachers on (9) He became a fellow of the Physical Society of London and, in 1908, began a year's research at the Physiological Institute at the University of Berlin. Subsequently, he was attached to London Hospital in 1909 and 1910. (10) In 1909 Walter became interested in the connections between brain and body and began publishing a series of papers on Mental Biology. (11) Boston presumes Satis and their sons were also in London although from June 1908 to November 1910, Satis travelled in Europe and studied voice privately in Berlin and London. (12) Walter conducted research at this time at London Zoo into the coherence of heart and respiratory rhythms on zoo animals. (13) Some of his ideas and experiments seem to have become a little far-fetched. (14) It seems the schism in Satis and Walter's relationship occurred in 1910 or 1911 as Satis lived in Washington D.C. from 1911 to 1918, teaching privately from the home she shared with her sons. Between 1912 and 1917 Satis studied at the Wrightson School of Singing and received a diploma in 1917. She may also have received an Artist's Diploma from the Washington College of Music in 1916. At some time between 1911 and 1918, Walter lived in Paris. (15) In 1913 he published The People's Health, a half-year course in personal, household and industrial hygiene, public health, and human physiology. (16) At this time Walter Coleman lived at American University Park, Washington, D.C. Galletly suspects the two had separated and that as Satis' academic career ascended, of Walter seemed to wane. …