insisting upon is that his listeners should approach his work with no preconceived notions of any kind; they must learn to allow absolute and full freedom to their imaginations as it is only under such circumstances that any new work can be understood and appreciated at first. All preconceived theories must be abolished, and the new work approached through no formulas.” And in the same article Mr. Ornstein relates how, after he had played his _Wild Men’s Dance_ to Leschetizky that worthy pedagogue murmured, amazed, “How in the world did you get all those notes on paper!” That, unfortunately, concludes Mr. Ornstein, is the attitude of the average listener to modern music. A similar instance is related in the case of Strawinsky. He played some measures of his ballet, _The Firebird_, on the piano to his master, Rimsky-Korsakow, until the composer of _Scheherazade_ interposed, “Stop playing that horrid thing; otherwise I might begin to enjoy it.” And even the usually open-minded James Huneker says in his essay on Arnold Schoenberg (“Ivory, Apes, and Peacocks”), “If such music-making is ever to become accepted, then I long for Death the Releaser. More shocking still would be the suspicion that in time I might be persuaded to like this music, to embrace, after abhorring it.” These phrases of Huneker’s remind me of a personal incident. My father has subscribed for the “Atlantic Monthly” since the first issue and one of the earliest memories of my childhood is connected with the inevitable copy which always lay on the library table. On one occasion, contemplating it, I burst into tears; nor could I be comforted. My explanation, between sobs, was, “Some day I’ll grow up and like a magazine without pictures! I can’t bear to think of it!” Well, there is many a man who weeps because some day he may grow up to like music without melody! Music _has_ changed; of that there can be no doubt. Don’t go to a concert and expect to hear what you might have heard fifty years ago; don’t expect _anything_ and don’t hate yourself if you happen to like what you hear. Mr. George Moore’s evidence on this point of receptiveness is enlightening (Mr. George Moore who spoke to me once of the “vulgar noises made by the Russian Ballet”): “In _Petrouchka_ the orchestra all began playing in different keys and when it came out into one key I was quite dazed. I don’t know whether it is music but I rather liked it!”