May I ask you to consider with me some questions such as these:—Whether, historically, musicians and listeners, have known what they wanted acoustically and have made demands upon, and modelled, a building type. Or whether conversely an existing building has been the deciding factor? Whether we are now in a historical era quite different from the past and ought to make clear acoustic demands? And if so what demands? And what degree of consent have we on the present musical situation and its vital needs?