When, a year ago, I accepted the flattering invitation of your assistant secretary to read a paper before you, I did not, I am afraid, sufficiently realize the difficulties of the undertaking. Casting about for a subject, it gradually dawned upon me that any attempt on my part to convey original information would be futile; for, not having a claim to be considered a specialist in any one branch of the musical art, my efforts could only have resulted in the process familiarly known as “carrying coals to Newcastle.” As such a waste of time was not to be thought of, it finally struck me that if I could not impart information, I might at least be the means of eliciting it, by supplying materials for a profitable discussion, which in its turn might stimulate to further enquiry and investigation. This I resolved to do, and as a natural consequence directed myself to the discovery of some neglected or hitherto imperfectly treated subject. I submit that Musical Progress is such a subject, and that its neglect, however easily it might have been accounted for fifty years ago, by the difficulties which would then have stood in the way, is no longer justifiable at the present day.