The musical devotee is, therefore, facing new issues, thrilling and possibly heart-rending. Can a musician adapt himself to these changes? Will he tolerate modifications of old instruments, radically new creations of instruments, revolutionary new types of ensembles, and radically new types of musical creation? Can musicians adapt themselves to these new musical media and musical forms as rapidly and completely as we have adapted ourselves to the transition from horse and buggy to automobile and airplane within the span of less than half a century? The answer is probably "no", for good reasons. Yet, sooner or later, the transition will come in the form of new musical media, new musical composition, and new types of musical appreciation and attachment. POSSIBLE LINES OF DEVELOPMENT We can now foresee that musical instruments will be submitted to critical analysis, with improvements even on the very best; that substitute forms in great variety may be developed for any now available musical instrument; that new instruments will be designed for the production of new tone qualities and other musical effects; that new ensembles may be built for any number or kind of instrument, so that it is within the bounds of possibility that the entire performance of the symphony orchestra, the symphonic band, and the grand opera may be performed through a single instrument operated by less than half a dozen persons; that the transmission of music by remote control of the instrument has extraordinary possibilities; that a vastly superior control of tone for precision and modulation can be realized; that the cost of musical instruments may be greatly reduced; that the number of players needed in ensemble performance may be reduced, since, on the analogy of the pipe-organ player, one individual may perform for an entire orchestra; that current music which has been hampered by limitations of the instrument may be perfected and new types of music may be introduced; that the musical instrument may become a medium for the production as well as the reproduction of song and speech; that the musical tone may be associated with other esthetic appeals, such as visual presentation of color, relief, and dramatic action--these are all within the realm of possible predictability.