thful an age that she made
several appearances in the English Provinces before she was twelve years
of age. Her talent aroused such interest that she was sent to the Royal
Academy of Music in London. There she was placed under the artistic
guidance of one of the foremost English teachers of pianoforte, Oscar
Beringer, with whom she remained for six years. This was followed by
four years under Leschetizky in Vienna.

Leschetizky saw splendid opportunities in such talented and regularly
trained material and is said to have given particularly careful
attention to Miss Goodson. It is not surprising that upon her return to
London Miss Goodson made a profound impression upon the musical public
and laid the foundation for a splendid reputation. She toured in
England, Germany, Austria and America with great success. In the Grove
Dictionary, her playing is described in the following manner: "It is
marked by an amount of verve and animation that are most rare with the
younger English pianists. She has a great command of tone gradation,
admirable technical finish, genuine musical taste and considerable
individuality of style." In 1903 Miss Goodson married Mr. Arthur Hinton,
one of the most brilliant of modern English composers.

XI

ANALYZING MASTERPIECES

KATHARINE GOODSON

THE NATURAL TENDENCY TO ANALYZE

"Judging from the mischievous investigations of things in general, which
seem so natural for the small boy to make, it would appear that our
tendency to analyze things is innate. We also have innumerable
opportunities to observe how children, to say nothing of primitive
people, struggle to construct--to put this and that together for the
purpose of making something new--in other words, to employ the opposite
process to analysis, known as synthesis. Moreover, it does not demand
much philosophy to perceive that all scientific and artistic progress is
based upon these very processes of analysis and synthesis. We pull
things apart to find out how they are made and what they are made of. We
put them together again to indicate the mastery of our knowledge.

"The measure of musicianship is the ability to do. All the analyzing in
the world will not benefit the pupil unless he can give some visible
indications of his proficiency. Indeed, important as the process is, it
is possible to carry it to extremes and neglect the building process
which leads to real accomplishment.

THE FIRST STEP IN ANALYZING A NEW PIECE

"