of some critical friend, so that a graceful rather than a
grotesque style of handling the baton may result; it should also be
done with the metronome clicking or with some one playing the piano
much of the time, in order that the habit of maintaining an absolutely
steady, even tempo may evolve. The phonograph may also be utilized for
this purpose, and may well become an indispensable factor in training
conductors in the future, it being possible in this way to study the
elements of interpretation as well as to practise beating time.

[Sidenote: BATON TECHNIQUE NOT SUFFICIENT FOR SUCCESS IN CONDUCTING]

It must not be imagined that if one is fortunate enough to acquire the
style of handling the baton which we have been advocating one will at
once achieve success as a conductor. The factors of musical
scholarship, personal magnetism, _et cetera_, mentioned in preceding
pages, must still constitute the real foundation of conducting. But
granting the presence of these other factors of endowment and
preparation, one may often achieve a higher degree of success if one
has developed also a well-defined and easily-followed beat. It is for
this reason that the technique of time beating is worthy of some
degree of serious investigation and of a reasonable amount of time
spent in practice upon it.

CHAPTER IV

INTERPRETATION IN CONDUCTING

INTRODUCTORY

[Sidenote: THE CONDUCTOR AS INTERPRETER]

Interpretation from the standpoint of the conductor differs from
interpretation in singing and playing in that the conductor must
necessarily convey ideas or emotions to his audience through an
intermediary, _viz._, the orchestra or chorus. He furthermore labors
under the disadvantage of having to stand with his back (certainly the
least expressive part of man's physique) to the audience. The pianist,
singer, and violinist, on the other hand, face their audiences; and
because they themselves actually do the performing, are able to work
much more directly upon the minds and emotions of their hearers. For
this reason, interpretation must be studied by the conductor from a
twofold basis:

1. From the standpoint of the expressive rendition of music
in general.

2. From the standpoint of securing the expressive rendition
of music from a group of players or singers.

We shall devote this and the three following chapters to a discussion
of these two phases of interpretation.

[Sidenote: INTERPRETATION AND