peech, our walk, and in our life more or less. How important then
is the study of the rhythmic peculiarities of the new piece. Every
contributing accent which gives motion and characteristic swing to the
piece must be carefully studied. It is rhythm which sways the audience.
Some performers are so gifted with the ability to invest their
interpretations with a rhythmic charm that they seem to fairly
invigorate their audiences with the spirit of motion. I cannot conceive
of a really great artist without this sense of rhythm.

THE COMPOSER'S INSPIRATION

"Personally I believe in 'pure music,' that is music in the field of
pianoforte composition that is sufficient unto itself and which does not
require any of the other arts to enhance its beauty. However, in the
cases of some of our modern composers who have professedly drawn their
musical inspiration from tales, great pictures or from nature, I can see
the desirability of investigating these sources in order to come closer
to the composer's idea. Some of the works of Debussy demand this. Let me
play you his '_Night in Granada_,' for instance. The work is most subtle
and requires an appreciation of Oriental life, and is indeed a kind of
tonal dream picture of the old fortified palace of Moorish Spain. I feel
that in cases of this kind it helps the performer to have in mind the
composer's conception and in playing this piece in public I always
follow this plan.

STUDYING THE PHRASING

"Each phrase in a piece requires separate study. I believe that the
student should leave nothing undone to learn how to phrase or rather to
analyze a piece so that all its constituent phrases become clear to him.
Each phrase must be studied with the same deference to detail that the
singer would give to an individual phrase. This is by no means an easy
matter. More important still is the interrelation of phrases. Every note
in a work of musical art bears a certain relation to every other note.
So it is with the phrases. Each phrase must be played with reference to
the work as a whole or more particularly to the movement of which it is
a part.

MARKING THE FINGERING

"It seems hardly necessary to say anything about the fingering when so
much attention is being given to the matter by the best teachers of the
country, but certainly one of the most essential considerations in the
study of a new piece is the study of the fingering. A detailed study of
this should be made and it should b