The subject of this paper, “Beauty of Touch and Tone,” is one which however admirably it may be exemplified in the public performances of many—unhappily not all—of our leading artists, however conscientiously it may be inculcated by our most eminent teachers, is, in the playing and singing of too many of our amateurs, conspicuous only by its absence; and I can but think that, from the generality of the members of the musical profession, it does not receive that amount of attention which its importance demands, and which the rapid extension of musical education in some other directions might lead us to expect.