ted by that steady throb of regular pulsation
which is the foundation of all rhythmic coherence.

Modern musical rhythm is so complex in its frequent employment of
syncopations, "cross accents," _et cetera_, that the prospective
conductor must study indefatigably if he is to unravel its apparently
inextricably snarled-up threads. We assume, however, that detailed
study of rhythm has constituted a part of the student's work in piano,
singing, _et cetera_, and shall therefore not attempt to treat the
matter further. Let us advise the would-be conductor, however, to
continue his study of rhythm and phrasing unceasingly and never to
allow himself to be deluded into believing that an accurate knowledge
of these things is less necessary now than formerly. It has seemed to
us that some public performers of the present day were cloaking their
inability to play or sing with rhythmic accuracy under a pretense of
being highly artistic and flexible in their rhythmic feeling. Needless
to say, the existence of such a state of affairs is to be greatly
deplored and the student is admonished to make sure that he is able to
perform every detail of his music with metronomic accuracy before he
attempts _rubato_ effects.

[Sidenote: MELODY, HARMONY, AND PITCH REGISTERS]

The second, third, and fourth of the elements of expression as cited
in our list on page 46 belong almost wholly to the composer since he
is able to indicate them precisely, and the conductor's chief concern
in dealing with melody, harmony, and pitch registers will be to make
certain that the composer's wishes are carried out to the letter. For
this reason no attempt will be made to discuss these matters further,
the topic belonging to composition rather than to conducting.

[Sidenote: PHYSICAL MEANS USED BY THE CONDUCTOR FOR INDICATING
EXPRESSIONAL EFFECTS]

Now that we have reviewed the elements of expression somewhat fully,
what of the conductor? Shall we give him a set of specific directions
for making his chorus or orchestra sing or play more loudly or more
rapidly or more dramatically? Our reply is--no, not any more than we
should attempt to show the student of acting or oratory exactly what
gestures he is to make use of in playing upon the emotions of his
audience. As implied at the outset, the thing that is necessary in
both cases is that the interpreter have:

1. General scholarship.

2. An intimate acquaintance with the content and spirit of