So we are left with these problems. Shall we be tempted to seek the shadow and lose the substance--listen in often, but never attend an orchestral or chamber concert or a violin or vocal recital? The chances are that we shall, unless opportunities to enjoy the latter are greater than at present. Considerable loss would result. The ears of the next generation would become attuned to a diminished variety of tonal experiences, for one thing. For another, the psychological, even physical effects of large gradations in the volume of tone, such as can be experienced only in the concert-room, should not willingly be relinquished. And, again, it is not by any means the same thing to listen to music in the company of others, in the atmosphere of the concert-room, as it is to enjoy music in solitude. We may sometimes prefer the latter, but that fact does not remove the difference. The second problem is that, though there is little physical or moral good to be found in solo instrumental playing, such good _does_ result from singing and partaking in concerted music. There is no good reason why we should play the piano--rather than listen to it; but there are many reasons why we should sing or play in chamber or orchestral music. By all means let us listen to more music of all kinds; increased facilities for listening should not, however, decrease our desire to perform when performance can benefit us. Taking all these considerations together we may assume: (1) that pianoforte _playing_ will decline though much more pianoforte music will be enjoyed. (2) that much of the practical energy now devoted to the pianoforte will be directed to the study of other instruments. (3) that, unless our musical life is to increase in volume but diminish in quality, more and not less concert-going and concerted instrumental playing and choral singing must be provided.