is a decided advantage in having a word that is understood in
all countries where modern music (_i.e._, civilized music) is
performed, and just here is found the principal reason for the
popularity of the Italian language in musical terminology.
Schumann, MacDowell and other well known composers have tried
to break down this popularity by using their own respective
vernaculars in both tempo and dynamic indications, but in
spite of these attempts the Italian language is still quite
universally used for this purpose, and deservedly so, for if
we are to have a _music notation_ that is universal, so that
an American is able to play music written by a Frenchman or a
German, or a Russian, then we ought also to have a certain
number of expressions referring to tempo, etc., which will be
understood by all, _i.e._, a music terminology that is
universal. The Italian language was the first in the field, is
the most universally known in this particular at the present
time, and is entirely adequate. It should therefore be
retained in use as a sort of musical Esperanto.

108. There are several _ways of finding the correct tempo_ of a
composition:

1. From the metronomic indication found at the beginning of
many compositions. Thus _e.g._, the mark M.M. 92 (Maelzel's
Metronome 92) means that if the metronome (either Maelzel's or
some other reliable make) is set with the sliding weight at
the figure 92 there will be 92 clicks per minute, and they
will serve to indicate to the player or singer the rate at
which the beats (or pulses) should follow one another. This is
undoubtedly the most accurate means of determining tempi in
spite of slight inaccuracies in metronomes[25] and of the
mistakes which composers themselves often make in giving
metronomic indications.

[Footnote 25: To test the accuracy of a metronome, set the
weight at 60 and see if it beats seconds. If it gives more
than 62 or 63 or less than 57 or 58 clicks per minute it will
not be of much service in giving correct tempi and should be
taken to a jeweller to be regulated.]

2. Another means of determining the tempo of a composition is
to play it at different tempi and then to choose the one that
"feels right" for that particular piece of music. This is
perhaps the best means of get