been able to play a
few pieces fairly well, but who wonder why they find it difficult to
extend their musical sphere when the whole trouble lies in an almost
total absence of regular daily technical work systematically pursued
through several years.

"Of course, there must be other technical material in addition to
scales, but the highest technic, broadly speaking, may be traced back to
scales and arpeggios. The practice of scales and arpeggios need never be
mechanical or uninteresting. This depends upon the attitude of mind in
which the teacher places the pupil. In fact, the teacher is largely
responsible if the pupil finds scale practice dry or tiresome. It is
because the pupil has not been given enough to think about in scale
playing, not enough to look out for in nuance, evenness, touch, rhythm,
etc., etc.

MODERN RUSSIAN INFLUENCE IN MUSICAL ART

"Most musicians of to-day appreciate the fact that in many ways the most
modern effects sought by the composers who seek to produce extremely new
effects have frequently been anticipated in Russia. However, one signal
difference exists between the Russians with ultra-modern ideas and the
composers of other nations. The Russian's advanced ideas are almost
always the result of a development as were those of Wagner, Verdi,
Grieg, Haydn and Beethoven. That is, constant study and investigations
have led them to see things in a newer and more radical way. In the case
of such composers as Debussy, Strauss, Ravel, Reger and others of the
type of musical Philistine it will be observed that to all intents and
purposes, they started out as innovators. Schoenberg is the most recent
example. How long will it take the world to comprehend his message if he
really has one? Certainly, at the present time, even the admirers of the
bizarre in music must pause before they confess that they understand the
queer utterings of this newest claimant for the palm of musical
eccentricity. With Debussy, Strauss and others it is different, for the
skilled musician at once recognizes an astonishing facility to produce
effects altogether new and often wonderfully fascinating. With Reger one
seems to be impressed with tremendous effort and little result. Strauss,
however, is really a very great master; so great that it is difficult to
get the proper perspective upon his work at this time. It is safe to say
that all the modern composers of the world have been influenced in one
way or another by the gr