About four years ago I was honoured by an invitation from the Royal Musical Association to talk to them about music in films. At that time the music directors of the British film studios were engaged in a campaign to lift the standard of music employed in motion pictures, and to replace, where possible, the tricks employed at Hollywood with something more worthy the attention of serious musicians. I therefore considered the time not quite ripe for such a talk and chose instead a paper of Opinions and Prognostications based upon prophecies found in the Proceedings of this Association.