ies. The crescendo and decrescendo
are the means employed in music for the portrayal of this manifestation
of emotional life."

Another important matter which may to a great extent be reduced to rule
is that of accentuation. Through it a tone-picture is invested with
animation, and a clue is given to the disposition of tonal forms.
Accents are always required to mark the entrance of a theme, a phrase or
a melody. Where there are several voices, or parts, as in a fugue, each
voice denotes its appearance with an accent. Every daring assertion
hazarded in music, as in speech, demands special emphasis. Dissonances
need to be brought out in such prominence that they may not appear to be
accidental misconceptions, and that confident expectation may be aroused
of their ultimate resolution. Accentuation must be regulated by the
claims of musical delivery. At all times too gentle an accent is without
effect, too glaring an accent is to be condemned.

Hans von Buelow strenuously advised young musicians to cultivate their
ears and strive to attain musical beauty in what is termed phrasing,
which he regarded as the real beginning of greatness in a performer.
Phrasing and time keeping are two of the prime essentials in musical
delivery, and cannot be neglected with impunity.

Time may well be called the pulse of music. Upon some occasions the
pulse beats more rapidly than others. It is incumbent on the interpreter
of music to ascertain the harmonic and other causes which determine the
tempo of a musical composition, as well as those which make slight
variations from it admissible. Among other points to be noted is the
fact that sudden transition from repose to restless activity calls for
an accelerando, while the reverse requires a rallentando.

It is absolutely imperative for one who would interpret music to
cultivate the memory. The musician who cannot play or sing without notes
is compelled to expend a large amount of mental activity on reading
these, and will find it difficult to heed the manifold requirements of
musical expression and delivery, of which a few hints have here been
given. A musical composition is never thoroughly understood until it has
been intelligently memorized. One who can play or sing without notes is
as free as a bird to soar aloft in the blue ether of musical
imagination.

[Illustration: FRANZ LISZT]

Every interpreter of music longs for appreciative listeners, and young
musicians, in especial, oft