heavens, or forth into the boundless world, or toward a definite,
limited goal, resembles the surging, the pressing onward of a flood,"
said the great teacher, Dr. Adolph Kullak. "Reversely, that feeling
which draws its object into itself has a more tranquillizing movement,
that especially when the possession of the object is assured, appeases
itself in equable onward flow toward the goal of a normal state of
satisfaction. The emotional life is an undulating play of up-surging and
subsidence, of pressing forward beyond temporal limitations and of
resigned yielding to temporal necessities. The crescendo and decrescendo
are the means employed in music for the portrayal of this manifestation
of emotional life."

Another important matter which may to a great extent be reduced to rule
is that of accentuation. Through it a tone-picture is invested with
animation, and a clue is given to the disposition of tonal forms.
Accents are always required to mark the entrance of a theme, a phrase or
a melody. Where there are several voices, or parts, as in a fugue, each
voice denotes its appearance with an accent. Every daring assertion
hazarded in music, as in speech, demands special emphasis. Dissonances
need to be brought out in such prominence that they may not appear to be
accidental misconceptions, and that confident expectation may be aroused
of their ultimate resolution. Accentuation must be regulated by the
claims of musical delivery. At all times too gentle an accent is without
effect, too glaring an accent is to be condemned.

Hans von Bülow strenuously advised young musicians to cultivate their
ears and strive to attain musical beauty in what is termed phrasing,
which he regarded as the real beginning of greatness in a performer.
Phrasing and time keeping are two of the prime essentials in musical
delivery, and cannot be neglected with impunity.