which might be related, are not
without resemblances to thought transference.

2. The Composer in Independence. Under this head may be placed his
various instructions relative to tempo, expression, and the like. The
signature, three sharps, was set down by the editor, as the result of an
answer to his inquiry. But the time--six-eight--was written in (on the
editor's request) by the Composer himself. It was a distinct and
separate effort, for which the pencil was put in the slate and the slate
placed beneath the table. The time was set down before the notes
themselves were secured. The six-eight sign was clearly and neatly
written on the proper staff, in correct relation to the G-clef and to
the signature; and the two figures were also in correct relation to each
other. The word "Moderato" was written in by the Composer's direction,
without any request from the editor. Later, the words "With feeling"
and the mark of expression "pp," were obtained in the same way. Ties,
grace-notes, and staccato-marks were insisted upon, here and there, with
great vigor and earnestness.

Two further examples of the Composer's independence will perhaps
suffice. In the sixth measure there was a run of three eighth-notes in
the treble, exactly above a corresponding run of three eighth-notes in
the bass. In making his revision the Composer directed that each of
these three pairs of notes should be joined by stems. This took the
treble notes down to the bass, and left the last half of the treble bar
empty--a fact unnoticed by the editor and beyond the purview of the
psychic. The Composer, however, observed the hiatus, and directed the
insertion of two rests.

One other instance: The bar at the end of the first measure, as
originally drawn by the Composer, cut off two notes on leger-lines and
gave them to the succeeding measure. Another little colloquy: Editor:
"Shall I draw the bar where it belongs?" Composer: "_Yes, if you
please._" Editor: "Here?" Composer: "_No._" Editor: "There?" Composer:
"_Yes. Thank you._"

3. The Composer in Opposition. Numerous interesting cases of
cross-purposes between the Composer and the circle developed during
these two days. A number of salient examples follow:

On the first opening of the slate, the seventh measure of the treble
contained but two notes, which the Composer presently declared to be
quarter-notes. This left the first third of the measure vacant; and the
Composer, interrogated, directed the