rs any
thing by heart; could not compose two notes to save her
life; and cannot repeat by ear the simplest melody out of an
opera, though she has heard it a hundred times. She is
perfectly ignorant of the history of music; hates classical
works; knows few of the masters' names save Verdi,
Donizetti, Offenbach, and Mozart, the latter only as the
composer of 'Don Giovanni.' Gregorian or Latin chants convey
no especial meaning to her mind: all she can tell you about
them is that they are used in church. As for orchestration,
scoring, and such like, they are only fit matters for
professionals. She will call Wagner horrid, Gounod lovely,
Mendelssohn dull, and Beethoven pretty, without knowing why
she likes or dislikes any thing. She yawns at an oratorio,
is bored at a concert, and only enjoys opera because she
knows everybody that sits in the boxes."

Besides, I think a mistake is made in compelling girls to learn to
play only the piano-forte. There are other instruments, for
performance upon which many of them have talents. Nor need such
performance detract from a graceful, ladylike appearance. I mention,
for example, the harp, the violin, and, indeed, all the stringed
instruments, and even others. But on this point another says,--

"A recent number of the London 'Queen' contains an article
recommending the violin as an instrument peculiarly
appropriate for the use of ladies. It protests against the
custom of teaching girls to play the piano-forte only,
arguing that they should have a larger field in music. There
is certainly no reason why girls may not gracefully handle
the bow; and it is stated in the article referred to, that
they 'can learn the violin in half the time that boys
can,'--a statement which indicates that a goodly number of
girls somewhere have had the opportunity of learning. In
this age of progress, girls may certainly have a choice of
instruments, and an opportunity to pursue the delightful art
of music in whatever way they choose. If taste or fancy
incline them to wind-instruments, why should they not try
them?"

Mr. Dwight, in his "Journal of Music," very justly and considerately
discourses of the utility of violin accomplishment, and the
adaptability of the instrument to womanly practice. He says,

"We have always wondered, that in a community