Thirdly, it would be necessary to see that facility in reading proceeded so far that readers would not find it necessary to read aloud, but could when they desired, read rapidly “to themselves”. It would be necessary, of course, to show many of the teachers and almost all of their pupils, that reading is primarily not to enable the reader to recite to others, but to make an impression on his own mental equipment. It is quite possible for one to learn to read out loud after a fashion, in a foreign tongue, without understanding a word of it, but so that listeners may get a fair idea of it. The effect on the reader in this case is absolutely zero. Musically, this kind of community is precisely the one that public libraries have to deal with. Many of our clients do not like or understand music at all, or they care for only the most elementary melodies, harmonies and rythms--comparable to the literature that one gets in a child’s primer. Of those whose range of appreciation and love is fairly wide, comparatively few are familiar with musical notation, and can not read music. Of those who can read, few can read rapidly and with assurance, and fewer still can read without audible utterance; that is, they can not read to themselves. It is common to hear persons who can sing or play on some instrument with a fair degree of success and taste say “Oh, I can’t read; I have to pick out the notes and get my teacher to help me.” This is exactly as if someone who had just recited an oration or a poem with some feeling should proclaim complacently: “Oh, I can’t really read. I had to pick out that piece word for word, with my teacher at my elbow to help me out.” In the face of such a situation the librarian should feel and act precisely as he would feel and act if the situation existed with regard to books, as it has already been imagined and described. First, he should try to influence the growth of musical appreciation through the home, so that all the children in a family shall come to understand and use musical language as they do the language of the spoken word. Secondly, he should try to influence the schools so that they shall teach the reading of musical notation as thoroughly as they do the reading of the printed word, and to persuade teachers of music to teach music really and not simply the art of performing on some musical instrument. Thirdly, he should point out to his musical clients that music may be read “to oneself”, just as language can, and encourage them to try it, beginning with easy examples. Note that reading to oneself can be done only by those who already know how to read aloud, and only by practise. There is no way in which it can be taught.