There is perhaps some doubt whether we should include in this sort of material musical records, either for the mechanical organ and piano or for the phonograph. These should possibly be considered as books containing music written in a kind of notation that admits of sound-reproduction. The fact that there is this doubt should perhaps suffice to throw these records into the borderland of which we are speaking. They are to some extent capable of the group arrangement spoken of above, as where a library patron asks to take out half a dozen records from one opera or eight old French dances. They are also capable of a kind of correlation with other library material that is quite unique. Thus a reader may take out at the same time Chopin’s military polonaise in ordinary notation and in music-roll form. The pianola reproduction serves as a guide to his own reading of the piece, or he may simply follow the musical notation as he operates the mechanical player. Similarly, he may take out the miniature orchestral score of a selection and the phonograph record of the same as played by an actual orchestra. Here he can not play the piece himself but he can follow the reproduction with score in hand, much to his own musical pleasure and profit. An exactly similar correspondence exists between an ordinary book and a phonograph record of it read aloud. Such records are not often available, but I see no reason why they should not become so, at any rate in the case of poetical and oratorical selections. Our means of popular instruction in spoken language are deficient and these might prove useful. At present we teach children in the schools to read and write, but not to speak. If they do not learn good colloquial spoken English at home, they are apt to remain uneducated in this respect. This plan has worked well in the teaching of foreign languages and it is now possible to buy small phonographs with cylinder records in French, German or Italian corresponding to printed passages in the accompanying manuals. I certainly think it legitimate of libraries to purchase these, and they would be “border-land” material, I suppose, in the same sense as the musical records. I may say before closing, in regard to this sort of museum material, that the largest circulation of music rolls that I know of is that of the Cincinnati Public Library, which distributes them at the rate of 60,000 per year. We have 3681 rolls and circulated 16,814 in the year 1917. Neither the Cincinnati library nor our own pays out money for this material. It is all donated.