Not only has the size of the music loving population been considered in the multiplication of concerts, but the varieties of appreciation and the national tastes of different neighborhoods have been sympathetically studied by Arthur Farwell, the supervisor. The $100,000 annual municipal appropriation is divided between the piers and parks, and provides for a force of about seventy bands and conductors. Extraordinarily interesting is the study of neighborhoods in connection with the make-up of programs. This is especially so among the docks. The long pier at 129th Street, with an orchestra attracts what the directors are pleased to designate as the “high-brow” crowd. The call there is for the best in operatic and symphonic music—two and three movements of symphonies are often given. Selections from Italian opera flourish at East 112th Street, and at East 3d Street, all sorts of Jewish religious music is featured. The only crowd which has given any trouble assembles at West 50th Street, and the largest of the pier audiences is found at East 34th Street. Probably the most generally representative gathering is in the Mall in Central Park, where seven concerts a week are given in summer. In thus cursorily reviewing the facts of the condition of municipal music in New York, only the smaller part of the situation is discussed. The movement, under its present impetus, is new, and to a large number of people, unknown. Although it is beyond the scope of the present article to consider, in any detail, the ethical aspect of the situation, it is, nevertheless, appropriate, in view of the comparative untriedness of the idea, to answer a few questions which are constantly brought up by those who are interested in the conditions. Even so, it seems that the time has come when the movement may fairly be said to have passed the experimental stage, if success may be measured by popular approval.