Fourthly, he should have in his library a selection of music picked out to a great extent to further the ends outlined above. Much of it should be for readers, not for performers. His lists should be made for readers and the comments on individual titles should be for readers. Moreover, they should at present be such as will help the beginner; for a very large proportion of our musical readers are beginners although they may be in the anomalous position of the reader who knows and appreciates his subject matter very thoroughly, while he can read about it only hesitatingly and haltingly. Imagine a well-informed and intelligent student of history who has completely forgotten to read, owing to some concussion of the brain which has not impaired his knowledge in any other way, and you have the situation of many music-lovers. There were doubtless poets before the invention of alphabets, and one may appreciate a symphony concert without knowing his musical alphabet or being able to use it; but we are accustomed now to considering thorough ability to read as a prerequisite to the requirement of a general education; and I do not see why as complete an ability to read music should not be a prerequisite for such a musical education as all persons ought to possess. The analogy between the reading of music and that of language is very close, as we have seen, and we may be guided by it largely; but there is one respect in which it fails. Music and poetry may both be bad in the sense that they are ugly, of faulty construction, or trivial. But poetry may also be bad because it conveys a bad moral lesson or causes one to accept what is false. I can not see that it is possible for music to do this, except by association. A tune that has always been associated with improper words may in time come to be considered as itself improper, but there can be nothing objectionable about the music in itself. Again, music may be improperly used. Anyone would say that a largo in a minor key was out of place at a wedding, or a jig at a funeral. Association may have, but does not necessarily have anything to do with this; but here again the music in itself is not objectionable. This simplifies the selection of music for a library; for it excludes at the outset almost all the problems of censorship. Music is rejected usually for negative reasons--because it is not worth buying; not for any active evil influence that it is likely to exert.